FALL SEASON
SEVERANCE HALL
October 10, 12, 13 FRANCK'S SYMPHONY IN D MINOR
PO A S
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TA B L E O F C O N T E N T S
THIS WEEK page
THE
CLEVELAND
ORCHESTRA
WEEK 3
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In the News From the Executive Director . . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Fate and Freedom: Exploring the Legacies and Music of Beethoven and Shostakovich . . . . . . . . . . . . . . 63
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About the Orchestra Musical Arts Association. . . . . . . . . . . . . . . . . . . . . Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guest Information. . . . . . . . . . . . . . . . . . . . . . . . . . .
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Concert — Week 3 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program: October 10, 12, 13 . . . . . . . . . . . . . . . Introducing the Program . . . . . . . . . . . . . . . . . . . . . fauré Suite from Pelléas and Mélisande . . . . . . . . . . britten Serenade for Tenor, Horn, and Strings . . . . . Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . franck Symphony in D minor. . . . . . . . . . . . . . . . . . . . .
11 15 22 88 92
33 35 37 39 43 47 55
Conductor: Marek Janowski . . . . . . . . . . . . . . . . . 59 Soloist: Matthew Polenzani . . . . . . . . . . . . . . . . . . 60 Soloist: Richard King. . . . . . . . . . . . . . . . . . . . . . . . . 61
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Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate Annual Support. . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . . Individual Annual Support . . . . . . . . . . . . . . . . . . .
48 69 73 75 76
COVER PHOTOGRAPHY BY ROGER MASTROIANNI
Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800
NATIONAL ENDOWMENT FOR THE ARTS
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
50%
All unused books are recycled as part of the Orchestra’s regular business recycling program.
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Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . 94
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This program book is printed on paper that includes 50% recycled post-consumer content.
These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.
Table of Contents
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Perspectivesfrom the Executive Director October 10-13, 2013 I am pleased to welcome you to this concert, which is part of what has become an annual tradition at The Cleveland Orchestra: Student Appreciation Week. This week is just one component of a major youth movement at Severance Hall over the past two seasons — as we build the youngest audience of any orchestra in the United States. In the first two weekends of concerts this season, over 25% of our audiences has been students! Last year, more than 13,000 students purchased discounted tickets for concerts at Severance Hall. And this year, we are well on the way to surpassing that record achievement. Our Student Frequent Fan Card has grown to include over 1,100 members for 2013-14, and an all-time high of 6,000 area students have already signed up for the Student Advantage Program this season. Jesse Rosen, president of the League of American Orchestras, writing last week on the Huffington Post website, praised The Cleveland Orchestra's efforts to attract new listeners. After attending the season's opening program at Severance Hall in September, he wrote that the Orchestra is “well on its way” toward its “audacious” goal of developing the youngest orchestra audience. “The vibe in the hall was fantastic,” he wrote. None of this would be possible without the support of our donors. Our youth and student programs are funded through the Alexander and Sarah Cutler Fund for Student Audiences, and through The Cleveland Orchestra’s Center for Future Audiences, created with a $20 million lead endowment gift from the Maltz Family Foundation. These generous contributions reduce the price of admission for a new generation of audience members to enjoy the finest orchestral music in the world. To keep The Cleveland Orchestra vital, our focus must always be on tomorrow, toward a second century of changing lives through the power of music. Therefore, as our audience gets young and younger, Franz Welser-Möst and I want to convey our sincere appreciation to the donors for their visionary generosity, to the staff who work diligently to make the vision a reality, and to enthusiastic students in the audience, tonight and every night, for helping to secure the future of this great orchestra.
Gary Hanson Executive Director P.S. Included in this fall’s elections is Issue 1, a replacement levy for services to our community's most vulnerable citizens through Cuyahoga County's Health and Human Services. This funding helps ensure a safety net across our community for children, families, and seniors. Every vote can make a critical difference in this election. For further information, visit www.CuyahogaHHS.org. Severance Hall 2013-14
Perspectives
7
C L E V E L A N D O R C H E S T R A A R C H I V E S / R O G E R MA S T R O I A N N I
PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos
Franz Welser-Möst has led efforts to have The Cleveland Orchestra perform at public schools in Northeast Ohio, including this performance in October 2010 at Cleveland’s John Adams High School, which included Stravinsky’s The Rite of Spring.
and around the globe, The Cleveland Orch estra remains Northeast Ohio’s most visible international ambassador and one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Music Festi val, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative program ming, and active community engagement. With the 2013-14 season, Franz Welser-Möst enters his twelfth year leading the ensemble, with a commitment extending to the Orchestra’s centennial in 2018. This artistic partnership con tinues to move the ensemble forward through a series of new and ongoing ini tiatives, including: IN PE RFORMANC E S AT HOME
expansion of education and community programs in Northeast Ohio to fea ture music as an integral and regular part of everyday life for more people, in cluding the launch this past spring of an “At Home” neighborhood residency program that brings The Cleveland Orchestra to a single neighborhood or town
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About the Orchestra
The Cleveland Orchestra
for an intensive week of special activities and performances, as well as the broaden ing of the Orchestra’s ongoing education and community engagement initiatives to include Make Music!, a program of active and participatory experience and learning; the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base — including ongoing residencies at the Vienna Musikverein (the first of its kind by an American orchestra) and in Florida under the name Cleveland Orchestra Miami (featuring an annual series of concerts and community activities, coupled with educational presentations and collaborations based on successful programs pioneered at home in Cleveland); creative new artistic collaborations with arts institutions in Northeast Ohio, including staged works, concerts, and chamber music performances; a concentrated and successful effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media promotion, and student ticket programs, with demonstrat ed results at Severance Hall and Blossom; a variety of new concert offerings (including KeyBank Fridays@7 and Celebri ty Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to play more music for more people; the return of ballet as a regular part of the Orchestra’s presentations, featuring on going collaborations with Chicago’s Joffrey Ballet; continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and beyond; concert tours from coast to coast in the United States, including regular appear ances at Carnegie Hall; ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of acclaimed DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst.
The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony or chestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening in 1931 of Severance Hall as the Orchestra’s home brought a special pride to the ensemble and its hometown, as well as providing an enviable and inti mate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Mu sic Center, one of the most beautiful and acoustically admired outdoor concert facili ties in the United States. Severance Hall 2013-14
The Orchestra Today
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we light the way To health and wellness for individuals, families and communities
Si s ter s of C h a r it yHe a lt h.or g / Joi nUs In C l e v e l a n d : S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r, S t . J o h n M e d i c a l C e n t e r *, S i s t e r s o f C h a r i t y F o u n d a t i o n o f C l e v e l a n d , B u i l d i n g H e a l t h y C o m m u n i t i e s , R e g i n a H e a l t h C e n t e r, J o s e p h ’s H o m e , L i g h t o f H e a r t s V i l l a*, * Joint ventures with partners C a t h o l i c C o m m u n i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s Canton, Ohio • Cleveland, Ohio • Columbia, South Carolina
A Ministry of the Sisters of Charity of St. Augustine
T H E M U SI C AL AR TS AS SOCIATION
as of August 2013
operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival
O F F I C ER S A ND EXEC UT IVE C O MMI T T EE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President
Norma Lerner, Honorary Chair Raymond T. Sawyer, Secretary Beth E. Mooney, Treasurer
Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz
Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley
R E S I D ENT TR U S T EES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland
James D. Ireland III Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill
NO N- R ES I D ENT T RUS T EE S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)
Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)
TR U S TEES EX- OFFIC IO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, State Chair, Blossom Women’s Committee
Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson
The Honorable John D. Ong Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Neil Sethi Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Thomas A. Waltermire Geraldine B. Warner Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort
Ludwig Scharinger (Austria)
Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University
TR U S TEES EM ERIT I Clifford J. Isroff Samuel H. Miller David L. Simon
H O N O RARY T RUS TEES FOR LIFE Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert F. Meyerson Allen H. Ford
PA S T PR ES I D EN T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53
Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83
Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08
THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director
Severance Hall 2013-14
Gary Hanson, Executive Director
Musical Arts Association
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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra
marks Franz Welser-Möst’s twelfth year as music director of The Cleveland Or chestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his di rection, the Orchestra is acclaimed for its continu ing artistic excellence, is extending and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, continues its his toric championship of new composers through com missions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst is general music director of the Vienna State Opera. With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with per formances in collaboration with the Cleveland Metropolitan School District. Mr. Welser-Möst’s championship of community music-making expands upon his active participation in educational programs and collaborative programming, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservato ries, universities, and other arts institutions across Northeast Ohio. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and another at Switzerland’s Lucerne Festival. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orchestra residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a regular new residency at New York’s Lincoln Center Festival. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festi val and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-An dré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth. Franz Welser-Möst has led a series of opera performances during his tenure P H OTO BY S ATO S H I AOYAG I
THE 2013 -14 SEASON
Severance Hall 2013-14
Music Director
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in Cleveland, re-establishing the Orchestra as an important oper atic ensemble. Following six seasons of opera-in-concert presen tations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 brings an innovative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen to Northeast Ohio. Franz Welser-Möst became general music director of the Vienna State Opera in 2010. His long partnership with the com pany has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 201314 season, his Vienna schedule includes a new production of Puccini’s The Girl of the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo, Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier. Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Phil harmonic. Recent performances with the Philharmonic include appearances in con cert at La Scala Milan, at New York’s Carneige Hall, and in opera presentations at the Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by telecast in seventy countries worldwide in 2011 and again in 2013. Across a decadelong tenure with the Zurich Opera, culminating in three seasons as general music di rector (2005-08), Mr. Welser-Möst led the company in more than 40 new productions. Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD re cordings of live performances of five of Bruckner’s symphonies, presented in three acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musik verein, and Severance Hall). With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Wels er-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honor ary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner So ciety of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.
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Music Director
The Cleveland Orchestra
THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR
“The Cleveland Orchestra proved that they are still one of the world’s great musical beasts. With Franz Welser-Möst conducting, this music . . . reverberated in the souls of the audience.” —Wall Street Journal
—The Guardian (London)
P H OTO BY R O G E R MA S T R O I A N N I
“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.”
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Franz Welser-MÜst and The Cleveland Orchestra, performing Bruckner’s Fourth Symphony in concert at Severance Hall in April 2012.
T H E
C L E V E L A N D
FRANZ WELSER-MÖST MUSIC
DIRECTOR Kelvin Smith Family Chair
FIRST VIOLINS William Preucil CONCERTMASTER
Blossom-Lee Chair
Yoko Moore
ASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Peter Otto
FIRST ASSOCIATE CONCERTMASTER
Jung-Min Amy Lee
ASSOCIATE CONCERTMASTER
Gretchen D. and Ward Smith Chair
Alexandra Preucil
ASSISTANT CONCERTMASTER
Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair
Takako Masame
Paul and Lucille Jones Chair
Wei-Fang Gu
Drs. Paul M. and Renate H. Duchesneau Chair
Kim Gomez
Elizabeth and Leslie Kondorossy Chair
Chul-In Park
Harriet T. and David L. Simon Chair
Miho Hashizume
Theodore Rautenberg Chair
Jeanne Preucil Rose
Dr. Larry J.B. and Barbara S. Robinson Chair
Alicia Koelz
Oswald and Phyllis Lerner Gilroy Chair
Yu Yuan
Patty and John Collinson Chair
Isabel Trautwein
Trevor and Jennie Jones Chair
Mark Dumm
Gladys B. Goetz Chair
Katherine Bormann
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SECOND VIOLINS Stephen Rose *
Alfred M. and Clara T. Rankin Chair
CELLOS Mark Kosower*
Louis D. Beaumont Chair
Richard Weiss 1
The GAR Foundation Chair
Emilio Llinas 2
Charles Bernard 2
Eli Matthews 1
Bryan Dumm
James and Donna Reid Chair Patricia M. Kozerefski and Richard J. Bogomolny Chair
Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut Yun-Ting Lee VIOLAS Robert Vernon *
Chaillé H. and Richard B. Tullis Chair
Lynne Ramsey 1
Charles M. and Janet G. Kimball Chair
Stanley Konopka 2 Mark Jackobs
Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
The Orchestra
Helen Weil Ross Chair Muriel and Noah Butkin Chair
Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff *
Clarence T. Reinberger Chair
Kevin Switalski 2 Scott Haigh 1
Mary E. and F. Joseph Callahan Chair
Mark Atherton Thomas Sperl Henry Peyrebrune
Charles Barr Memorial Chair
Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble *
Alice Chalifoux Chair
The Cleveland Orchestra
O R C H E S T R A FLUTES Joshua Smith *
PERCUSSION Marc Damoulakis°
HORNS Richard King *
Margaret Allen Ireland Chair
Elizabeth M. and William C. Treuhaft Chair
Michael Mayhew §
Donald Miller Tom Freer
Saeran St. Christopher Marisela Sager 2
Jesse McCormick Hans Clebsch Alan DeMattia
KEYBOARD INSTRUMENTS Joela Jones *
Austin B. and Ellen W. Chinn Chair
Mary Kay Fink PICCOLO Mary Kay Fink
Anne M. and M. Roger Clapp Chair
OBOES Frank Rosenwein * Edith S. Taplin Chair
Mary Lynch Jeffrey Rathbun 2
Everett D. and Eugenia S. McCurdy Chair
Robert Walters ENGLISH HORN Robert Walters
Samuel C. and Bernette K. Jaffe Chair
CLARINETS Franklin Cohen *
Robert Marcellus Chair
Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair
Linnea Nereim E-FLAT CLARINET Daniel McKelway
Stanley L. and Eloise M. Morgan Chair
BASS CLARINET Linnea Nereim BASSOONS John Clouser *
Louise Harkness Ingalls Chair
Barrick Stees
2
Sandra L. Haslinger Chair
Jonathan Sherwin
George Szell Memorial Chair Knight Foundation Chair
TRUMPETS Michael Sachs *
Robert and Eunice Podis Weiskopf Chair
Marjory and Marc L. Swartzbaugh Chair
Jack Sutte Lyle Steelman2
LIBRARIANS Robert O’Brien Donald Miller
Michael Miller
ORCHESTRA PERSONNEL Karyn Garvin
James P. and Dolores D. Storer Chair
CORNETS Michael Sachs *
Mary Elizabeth and G. Robert Klein Chair
Michael Miller TROMBONES Massimo La Rosa*
Gilbert W. and Louise I. Humphrey Chair
Richard Stout
Alexander and Marianna C. McAfee Chair
Shachar Israel
2
BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout
DIRECTOR
Anna Stowe
ACTING MANAGER
ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair
* Principal ° Acting Principal § Associate Principal 1 2
First Assistant Princi pal Assistant Principal
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair
TIMPANI Paul Yancich *
Otto G. and Corinne T. Voss Chair
Tom Freer 2
Giancarlo Guerrero
PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI
Brett Mitchell
ASSISTANT CONDUCTOR
Elizabeth Ring and William Gwinn Mather Chair
Robert Porco
DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
CONTRABASSOON Jonathan Sherwin
Severance Hall 2013-14
Rudolf Serkin Chair
Carolyn Gadiel Warner
The Orchestra
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Going more places, more often.
Severance Hall 2013-14
AND
FRANZ WELSER-MÖST
MUSIC OF
BEETHOVEN SHOSTAKOVICH IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE
OCTOBER 22-26
assistant professor of Russian/Soviet history at Oberlin College) on Friday, October 25. Cleveland Orchestra musicians perform chamber music by Beethoven and Shostakovich in Reinberger Chamber Hall at Severance Hall prior to the Orchestra’s concert on Saturday, October 26. The Cinematheque screens Stanley Kubrick’s classic film A Clockwork Orange to open the Festival on Tuesday, October 22. The movie prominently features music from Beethoven’s Ninth Symphony. John Ewing (Cinematheque co-founder and director and curator of film at the Cleveland Museum of Art) will introduce the film. The movie, based on the novel by Anthony Burgess, depicts a violent Orwellian future showing conflicts between conformity and personal freedoms. The Cleveland Museum of Art screens The New Babylon, a revolutionary 1929 silent film featuring Shostakovich’s first film score, on October 23. Set at the time of the Franco-Prussian War, the movie views the era’s clash of social classes in Paris in 1871. Frank J. Oteri will discuss the film, the politics of the time, and the music in a pre-screening talk with Ewing, moderated by James Krukones (associate professor of history and associate academic vice president at John Carroll University).
Cleveland Orchestra News
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The Cleveland Orchestra explores the music, times, and politics of two of western music’s most profound and controversial composers in “Fate and Freedom: Music of Beethoven and Shostakovich,” October 22-26. The Festival — featuring orchestra concerts, film screenings, pre-film and pre-concert talks, and a chamber music performance by members of The Cleveland Orchestra — is presented in partnership with the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque. Music Director Franz Welser-Möst conceived the Festival to look more closely at landmark symphonies by Beethoven and Shostako vich and to provide context around their creation, while examining the ever-relevant themes of personal and societal freedom they express. “Beethoven and Shostakovich were very political composers,” says Welser-Möst. “Their music was written to express the feeling of the times they lived in — there were new feelings about how to live. Beethoven’s Third Symphony was the first big musical and philosophical statement by a composer about what freedom can mean, both individually and collectively. Shostakovich lived under a suppressive regime. His symphonies represent personal despair. The symphonies of Beethoven and Shostakovich can teach us so much about our lives.” In a unique juxtaposition, Welser-Möst leads three distinct Cleveland Orchestra concerts on three consecutive evenings, pairing Beethoven Symphonies Nos. 3, 4, and 5 with Shostakovich Symphonies Nos. 6, 8, and 10, respectively, on Thursday, Friday, and Saturday, October 24-26. Insight into the music will be provided in a pre-concert interview with Franz Welser-Möst on Thursday, October 24, and in a pre-concert talk with guest speaker Frank J. Oteri (New Music USA’s composer advocate and the senior editor of NewMusicBox) and Rebecca Mitchell (visiting
FATE F R E E D OM
TH E C L E V E L A N D O R C H E S T R A A N D
Fall Festival explores music and politics with Beethoven and Shostakovich, October 22-26
THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA
OrchestraNews
News
THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESCLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA A THE CLEVELAND ORCHE
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OrchestraNews Two new appointments to Orchestra’s management team
Gary Hanson, executive director of The Cleveland Orchestra, has announced two new appointments to the Orchestra’s management team. Jennifer Barlament has been appointed to the position of General Manager effective September 23, overseeing Orchestra operations, concert production, collective bargaining, electronic media, and facilities (Severance Hall and Blossom). “It is a great pleasure to welcome Jennifer Barlament to the staff of The Cleveland Orchestra,” said Hanson in making the appointment. “Her strong musical background and record of achievement are among the terrific portfolio of skills and talent she will bring to us.” Barlament has served as executive director of the Kalamazoo Symphony Orchestra since 2009, and was general manager of the Omaha Symphony, 2002-09. She was the 2013 recipient of the Orchestra League’s Helen M. Thompson Award for extraordinary achievement and commitment in the field of orchestra management. Carol Lee Iott, who has served as Director of Orchestra Personnel since 2005 and as Acting General Manager this year, is taking on the new position of Director of Strategy and Special Initiatives, overseeing institutional strategy, major cross-departmental initiatives, Orchestra personnel, and education and community programs. “I’m delighted that Carol Lee has accepted my invitation to create this new position,” said Hanson. “In this role, Carol Lee’s portfolio of initiatives will include planning our Centennial celebration, establishing programs to realize Franz’s ‘Make Music!’ vision, and leading an expansion of our neighborhood residencies initiative.” Prior to coming to Cleveland, Iott served as director of orchestra personnel with the Chicago Symphony Orchestra, 1995-2005.
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Post-concert performers chosen for spring concerts in KeyBank Fridays@7 series
Following the first performance in September, The Cleveland Orchestra’s Fridays@7 series continues in 2014 with three popular concert offerings, pairing orchestral favorites with an array of post-concert world music presentations. The three spring concerts (March 7, April 11, and May 2) feature popular works for piano and orchestra by Rachmaninoff, plus Mozart’s Requiem. The onehour concerts include the early 7 p.m. start time, plus extra music both before and after. The post-concert presentations in the spring will be: March 7 — New York Gypsy All-Stars. Back by popular demand to Fridays@7, the New York Gypsy All-Stars jump the turnstiles of Balkanalia, Turkish roots, and gypsy soul with funky refinement. April 11 — The Medicine Show reaches people in hard-to-get places. The international group made up of players from Brazil, America, Japan, and Germany who are inspired by the intersection of their collective desire to play music that is a passport into another dimension. May 2 — Requiem to Resurrection. Gospel legend Theresa Thomason and the Mt. Zion Congregational Church gospel choir will lift the rafters in a musical journey for the soul. Let the spirit move you! Special three-concert series packages are available for the spring KeyBank Fridays@7 performances. Contact Severance Hall Ticket Services for complete details, or purchase online at clevelandorchestra.com.
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FRIDAYS@
Comings and goings
As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.
Cleveland Orchestra News
The Cleveland Orchestra
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News
OrchestraNews The Eric & Jane Nord Family Fund pledges $2.5 million toward Orchestra’s education programming for students The Eric & Jane Nord Family Fund has pledged a gift of $2.5 million to sustain The Cleveland Orchestra’s education programming for students of all ages across Northeast Ohio. The contribution is one of the largest the Orchestra has received to date for education. The gift also supports the Sound for the Centennial Campaign, the Orchestra’s ten-year comprehensive campaign to increase the endowment and grow the Annual Fund. “This generous endowment gift from the Nord Family Fund helps to ensure that music education and community engagement programs remain available for future generations,“ said Franz Welser-Möst. “You can’t take it for granted anymore that young people are exposed to great art, so we have to reach out. . . . We want to be present in the schools, in the lives of Clevelanders, so they not only experience the joy of music, but
also that we become a part of their lives.” Since 1918, the Orchestra has introduced more than four million Cleveland-area schoolchildren to symphonic music. The Eric & Jane Nord Family Fund is contributing a total of $250,000 toward annual operating costs associated with delivering education and community programs, and has pledged $2.25 million to create an endowment fund. The gift follows major grant awards this year from The Cleveland Foundation, George Gund Foundation, John S. and James L. Knight Foundation, Kulas Foundation, Andrew W. Mellon Foundation, and John P. Murphy Foundation. The Cleveland Orchestra’s Sound for the Centennial Campaign is building the Orchestra’s endowment through its centennial in 2018, while securing broad-based annual support from across Northeast Ohio.
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We believe in working for the greater good of all and we are proud to support any organization that shares this value. We thank The Cleveland Orchestra for its commitment to excellence! Ken Lanci, Chairman & CEO Consolidated Solutions Severance Hall 2013-14
Cleveland Orchestra News
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THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE
So delicious, you’ll demand an encore.
THE CLEVELAND ORCHESTRA THE CLEVELAND ORCLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA ESTRA THE CLEVELAND ORCHE
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OrchestraNews Orchestra’s recording of Bruckner 4th receives praise and awards The Cleveland Orchestra and Music Director Franz Welser-Möst’s live recording of Bruckner’s Symphony No. 4, released earlier this year, is receiving wide acclaim in reviews from around the world — including a new award announced this month. The Bruckner Society of America has just announced that it is giving this DVD its “best video of the year” designation, lauding the performance and the presentation. The performance was filmed in 2012 at the beautiful 17th-century baroque Abbey of St. Florian in Austria. Emmy Award-winner Brian Large directed the video recording. This is the first video produced of the recent critical edition of the 1888 version of Bruckner’s Fourth Symphony, edited by Benjamin Korstvedt and published in 2004 as part of the Bruckner Collected Works edition. Reviewers’ praise includes: “How does one approach Anton Bruckner and his exuberant Fourth Symphony distinctively? Franz Welser-Möst and his fellow Clevelanders accomplished it. And in such a way!” —Vienna Zeitung, June 2013 “A great orchestra, a Bruckner expert. . . . Five out of five stars.” —Kurier (Austria), May 2013 “In St. Florian, Franz Welser-Möst and The Cleveland Orchestra breathed new life into this version. A glorious concert.” —Die Presse (Austria), May 2013 Clasart produced the recording, which is being distributed by Arthaus and Naxos. The Cleveland Orchestra’s long-term partnership with Clasart has resulted in five Bruckner DVDs to date. Founded in Munich in 1977, Clasart is part of the Tele München Group. The Cleveland Orchestra extends special thanks to Raiffeisenlandesbank Oberösterreich and Tele München Group for their ongoing support for electronic media projects.
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Under 18s Free ticketing program extended to new series and concerts at Severance Hall
Committed to welcoming more young people and families, The Cleveland Orchestra has significantly expanded its “Under 18s Free” program for the 2013-14 season at Severance Hall — to include forty-six concerts from September to May, an increase from just fourteen “Under 18s Free” concerts in the 2012-13 season. “Under 18s Free” tickets will be available for all family programming at Severance Hall, along with Cleveland Orchestra concerts on Fridays and Sundays. The concerts include the Family Concert Series, PNC Musical Rainbows, Cleveland Orchestra Youth Orchestra and Youth Chorus concerts, as well as The Cleveland Orchestra’s Friday morning and evening concerts and Sunday matinees. “We’re dedicated to serving more people in our community,” says Gary Hanson, the Orchestra’s executive director. “The expansion of our ‘Under 18s Free’ program will provide access to more than three times as many performances for families and young people this season.” Since the creation of the Center for Future Audiences in 2010, funding from the Center has helped enable nearly 60,000 young people to attend Blossom Music Festival concerts and performances at Severance Hall. The Center’s ticket initiatives include “Under 18s Free,” Student Advantage, and Student Ambassadors programs. The Center for Future Audiences, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeastern Ohio. The “Under 18s Free” program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17. (Holiday concerts and Celebrity Series concerts are excluded from the “Under 18s Free” offer.) Individual free tickets for Severance Hall concerts for this program must be purchased through the Severance Hall Ticket Office; series purchases can be made online beginning later this month.
Cleveland Orchestra News
The Cleveland Orchestra
OrchestraNews H.A.I.L A.N.D F.A.R.E.W.E.L.L Longtime house manager at Severance Hall retires The Cleveland Orchestra family extends gratitude and extraordinary best wishes to Judith Diehl, who retired as Severance Hall house manager at the end of September. While deftly managing the Orchestra’s largest department of volunteers and part-time staff, Judith has run countless laps around Severance Hall, always with a smile and ever toward creating the best possible patron experience — across countless concerts, graduations, and special events. Judith is the author of the Orchestra’s first Front of House Personnel Handbook. “The love and respect Judith has for The Cleveland Orchestra and Severance Hall are evident in everything she does,” says Mary Ann Makee, director of facilities. “Her dedication over the past sixteen years, and her investment of time and thought in important initiatives such as the
Severance Hall Americans with Disabilities Committee, have been extraordinary.” Judith and her husband, George, are world travelers — and have enjoyed experiencing The Cleveland Orchestra in concert halls across Europe (where Judith examines the front-of-house staffing and services with a careful eye). She was a professional dancer earlier in her career, and helps raise money for the Yes . . . I Can(!) Dance program at the JCC for people with Parkinson’s disease. Join us in a big round of applause for Judith Diehl!
Spieth, Bell, McCurdy & Newell Co., L.P.A.
THE CLEVELAND ORCHESTRA
Established 1867
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Fiduciary Representation Trusts and Trust Administration Probate and Estate Administration Real Estate Business Law Tax Law and Planning Charitable Planning and Giving
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Cleveland Orchestra News
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THE CLEVELAND ORCHE
Our Law Firm’s Practices
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OrchestraNews Brett Mitchell joins Orchestra as assistant conductor and music director of Youth Orchestra With the start of the 2013-14 season, The Cleveland Orchestra welcomes new assistant conductor Brett Mitchell. As assistant conductor, he serves as cover conductor for Severance Hall and Blossom Music Festival subscription concerts, and provides assistance to music director Franz Welser-Möst. He is also serving as music director of the Cleveland Orchestra Youth Orchestra. Mitchell holds the Elizabeth Ring and William Gwinn Mather Assistant Conductor Endowed Chair. In addition to his appointment in Cleveland, Brett Mitchell is currently in his fourth season as music director of Michigan’s Saginaw Bay Symphony Orchestra. He has guest conducted widely and served as assistant conductor of the Houston Symphony (2007-11), where he concurrently held a League of American Orchestras American Conducting Fellowship. Since that
time, he has returned to lead that orchestra regularly as a guest conductor. He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09). A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University. A complete biography can be read at clevelandorchestra.com.
The Cleveland Orchestra
Guide to Fine Schools Consistently ranked among “Best Communities for Music Education” in the Nation!
216-898-8300
Consistently ranked among www.berea.k12.oh.us “Best Communities for Other fineEducation” schools advertising in The216-898-8300 Cleveland Orchestra’s Music Severance Hall programs include: www.berea.k12.oh.us in the Nation!
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north � point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling
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440.720.1102 440.720.1105 440.720.1104
Cleveland State University Kulas Series of Keyboard Conversations with Jeffrey Siegel 216-687-5018 Lake Erie College 1-855-GO-STORM
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OrchestraNews First “Meet the Artist” luncheon of season held on October 11 in Orange
F.A.M.I.L.Y N.E.W.S
Silence is golden
As a courtesy to everyone around you, patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to each concert.
As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.
Severance Hall 2013-14
Women's Committee Fall Benefit features evening of music and food at Nighttown on November 7
The Women’s Committee’s Fall Benefit event takes place on Thursday evening, November 7, at Nighttown restaurant in Cleveland Heights. The evening includes dining and socializing, plus a musical performance by the Oberlin Conservatory of Music Improvisation Ensemble under the direction of Jamey Haddad — exploring a range of musical genres and styles from around the world. Reservations are $75 per person, or $100 for the patron-level ticket. Reservations can be made by calling Cleveland Orchestra Ticket Services at 216-231-1111.
Committed to Accessibility
Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.
Cleveland Orchestra News
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THE CLEVELAND OR-
Comings and goings
Richard Weiss (cello), Maximilian Dimoff (bass), Marc Damoulakis (percussion), and Joela Jones (keyboards) present a faculty recital at the Cleveland Institute of Music on Friday evening, October 11 in CIM's Mixon Hall. The recital, which will also be broadcast live on WCLV radio (104.9 FM), begins at 8 p.m. and features Claude Bolling's Suite for Cello and Jazz Piano Trio, as well as works by Ginastera and Piazzolla. Admission is free, but seating passes are required; call 216-795-3211.
THE CLEVELAND ORCHESTRA
Please join in extending congratulations and warm wishes to: Sonja Braaten Molloy (violin) and her husband, Owen Molloy, whose baby boy, Cormac Henry, was born June 22. Charles Bernard (cello) and Jeff Williams, who were married on September 5. Lyle Steelman (trumpet) and Leslie Brown, who were married on September 14.
A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians
THE CLEVELAND ORCHESTRA
The Women’s Committee’s annual series of Meet the Artist luncheons begins on Friday, October 11. The guest artist for the season’s first event is Richard King, principal horn of The Cleveland Orchestra, who is performing as soloist in this week’s concerts. King will discuss his career with Randy Elliot, assistant artistic administrator, and perform a short program during the event. The Meet the Artist luncheon takes place at Beechmont Country Club (26900 Chagrin Blvd). A reception begins at 11:30 a.m., with lunch following at noon, and then the program with Richard King at 1 p.m. The cost is $35 for Women’s Committee members; $38 for non-members. Reservations are suggested. Please call 440-460-0789.
T HE CLEVELAND ORCHESTRA CHESTR
News
Part Emotion, Part Memory
TOWN HALL SPEAKER SERIES 2013-2014
All Magic
NOV 4, 2013
Martin Jacques “When China Rules the World”
DEC 9, 2013
Capitol Steps Political Satire Group
JAN 27, 2014
Jeff Hoffman
The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach Park’s historic past for all to ride again. You can be a part of this historic restoration by becoming a member, naming donor or sponsor of the Carousel horses right now. Go to: www.clevelandcarousel.org Or call: 216-752-1505
“The DNA Needed to Succeed as an Entrepreneur”
FEB 24, 2014
Michael Ruhlman
“America: Too Stupid to Cook”
APR 7, 2014
Bob Woodward
“The Price of Politics” Tickets are $45 each. Ohio Theatre 6:00 PM
Call for tickets at 216.241.1919 www.townhallofcleveland.org
Academic Sponsor
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Where people with disabilities thrive 216.662.1880 ncch.org The Cleveland Orchestra
LEARNING MORE ABOUT THE MUSIC
The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.
Severance Hall 2013-14
Concert Previews Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. October 10, 12, 13 “Suite, Symphony, and Serenade” with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music
October 17, 18, 19 “The Czech Connection” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer
October 24 “Beethoven and Shostakovich” Franz Welser-Möst discusses the week's festival with Mark Williams, director of artistic planning
October 25 “The Context of History” with guest speaker Frank J. Oteri, composer advocate at New Music USA in conversation with Rebecca Mitchell, visiting assistant professor of history at Oberlin College
October 26 “Chamber Music: Beethoven & Shostakovich”
Concert Previews
performed by members of The Cleveland Orchestra
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Student Appreciation Week October 10-13 Student attendance continues to grow at Severance Hall
As The Cleveland Orchestra’s 2013-14 season gets underway, more Student Ad vantage Members, Frequent Fan Card holders, Student Ambassadors, and student groups are contributing to the continued success of these programs. The Orchestra’s ongoing Student Advantage Program provides opportu nities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. For this season, a record 6,000 students have joined. The Student Frequent Fan Card was introduced a year ago with great suc cess. The program is continuing to grow, with the number of Frequent Fan Card holders have tripling so far this season over 2012-13. Priced at $50, the Fan Card offers students unlimited single tickets (one ticket per card holder) to weekly clas sical subscription concerts all season long. The Student Ambassador program is also growing. These young volunteers help to promote the Orchestra’s concert offerings and student programs directly on campuses across Northeast Ohio. Also this year, a group of Student Marketing Advisors was formed to help the Orchestra incorporate student feedback and insight to programs, and give local marketing majors a chance to work closely with the Orchestra’s sales team. In addition, attendance through Student Group sales are also bringing in more and more young people to Cleveland Orchestra concerts. From as far as Toronto and Nashville, these groups make up an integral part of the overall suc cess toward generating participation and interest among young people. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences, through the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.
The Cleveland Orchestra extends a special welcome this week to members of the Student Advantage Program.
T H E C L E V E L A N D O R C H E S T R A F R A N Z
W E L S E R - M Ö ST M U S I C
D I R E C T O R
Severance Hall
Thursday evening, October 10, 2013, at 7:30 p.m. Saturday evening, October 12, 2013, at 8:00 p.m. Sunday afternoon, October 13, 2013, at 3:00 p.m.
Marek Janowski, conductor gabriel fauré (1845-1924)
Suite from Pelléas and Mélisande, Opus 80
benjamin britten (1913-1976)
Prélude: Quasi adagio Fileuse: Andantino quasi Allegretto Sicilienne: Allegretto molto moderato The Death of Mélisande: Molto adagio
Serenade for Tenor, Horn, and Strings, Opus 31
1. 2. 3. 4.
1. 2. 3. 4. 5. 6. 7. 8.
Prologue Pastoral: The Evening Quatrains Nocturne: Blow, Bugle, Blow Elegy: The Sick Rose Dirge: Lyke-Wake Dirge Hymn: Hymn to Diana Sonnet: To Sleep Epilogue
MATTHEW POLENZANI, tenor RICHARD KING, horn
INTERMISSION
césar franck
Symphony in D minor
(1822-1890)
1. Lento — Allegro non troppo 2. Allegretto 3. Allegro non troppo
Richard King’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Warren H. Corning. Thursday’s concert will end at about 9:25 p.m., Saturday evening’s concert at about 9:55 p.m., and Sunday afternoon’s concert at 4:55 p.m. live radio broadcast
Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, November 17, at 4:00 p.m.
Severance Hall 2013-14
Concert Program — Week 3
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“
I’ve
tortoise
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never
seen
with
hair
?
you
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Committed
to classical around the clock.
WCLV…now also heard on 90.3 WCPN HD2 WCLV.org
INTRODUCING THE CONCERTS
Play, Horn& Symphony
brings together three composers from two countries — and multiple sensibilities. And offering a unique combination of sounds, including a very special pairing of solo instruments. The concert begins with Gabriel Fauré’s often gentle, at times glimmering, at times gloomy, at times shimmering suite of music for the play Pelléas et Mélisande, by Maurice Maeterlinck. While the play inspired several composers to create music, including Debussy’s impressionistic opera, each created a unique view of this storyy of love, betrayal, and misplaced trust. At the end of the concert, another Frenchman appears, in the form of the Symphony in D minor by César Franck. ranck. This great work defies the notion that France could not produce roduce a great symphonist, even if Franck could only producee one. The composer’s understanding of musical coloring (from m his years as an organist) and form (as a great teacher) creeated a seamless work of beauty and drive — and good od tunes for humming. While once a staple in the repertoire, guest conductor Marek Janowski leads rare-ish Cleveland Orchestra performances of this more recently neglected masterpiece. In between, we have the first of three major works by Benjamin Britten on The Cleveland Orchestra’s schedule this season, in commemoration of the 100th anniversary of this great English composer’s birth. Britten’s unique sensitivity to setting the English language, and his special understanding of balancing different voices, is on full display in the Serenade for T Tenor, H Horn, and Strings. In this mesmerizing soundworld, the strings are joined by the Orchestra’s principal horn player, Richard King, and tenor Matthew Polenzani. —Eric Sellen
THIS WEEK’S PROGRAM
Severance Hall 2013-14
Introducing the Concerts
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Suite: Pelleas and Melisande, Opus 80 created 1901 from the opera composed 1898
decided he would make an op era out of Maeterlinck’s play Pelléas et Mélisande, following its première in 1893, he had to secure the playwright’s permis sion — especially since he planned to set the text directly, not as reworked into a libretto of verse, which was normal practice at the time. When theater managers awoke to the novelty and subtle appeal of the play, it was staged all over Europe, always with incidental music to join together scenes or underscore moments of particular importance or tension. Few plays, in fact, were ever staged in the 19th century without musicians in the pit, and because Maeterlinck’s highly suggestive and atmospheric drama was perfect for musical illustration, a number of com posers were called on to provide incidental music. Gabriel Fauré’s music — from which this suite was drawn — was commissioned in 1898 for a production in London, which was taken to New York soon after. Sibelius’s equally famous music for the play was first heard in 1905 in Helsinki. Arnold Schoenberg composed a richly scored tone poem on the sub ject in 1903. Fauré arranged his four-movement concert suite in 1901. All in all, it was a time of many musical views on the play’s subject and subjective atmosphere. Fauré’s beautiful, wistful music is perfect for the halflight of the drama. The play tells, in muted tones and against a dimly medieval background, of Mélisande’s love for Pelléas, half-brother of her husband, Golaud. The latter is character ized by the second main theme of the Prélude (woodwind and solo cello), and, at the end, his horncall is heard in the depths of the forest. The movement has been described as “less a dé cor than a state of mind,” with some chordal string writing strongly reminiscent of Fauré’s well-known Requiem, written earlier. The second movement, La Fileuse, follows a long tradi tion of spinning-wheel pieces, and moves to the minor mode for a melody that is fully exploited in the last movement. The Sicilienne is the best-known movement of the suite, with its characteristic and charming melody and its suggestions of modal color. It had been composed earlier for a different purpose and has little connection with the play, but its charm WHEN CLAUDE DEBUSSY
by
Gabriel
FAURÉ born May 12, 1845 Pamiers, France died November 4, 1924 Paris
Severance Hall 2013-14
About the Music
39
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Pamela PamelaNadell Nadell
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MYTH&&COUNTER-MYTH: COUNTER-MYTH: THE THE SHTETL MYTH
StevenZipperstein Zipperstein Steven
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is inescapable. The final movement, in contrast, is charged with the tragic emotions of the last act, when Mélisande dies under the remorseful gaze of Golaud and his household. When pressed for time, Fauré sometimes passed the or chestration of his works to his pupils. After his death it was disclosed that the orchestrator of this suite (and much of the entire full score of incidental music) was Charles Koechlin, who was Fauré’s biographer and himself a composer of unrec ognized achievement. This suite was a task he undertook with exceptional skill. —Hugh Macdonald © 2013
Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.
At a Glance Fauré wrote his incidental music to Maurice Maeterlinck’s drama Pelléas and Mélisande in the spring of 1898, and conducted the first performance that year on June 21 at London’s Prince of Wales Theatre; the orchestrations for the 19 numbers were prepared by Charles Koechlin. Fauré subsequently extracted a three-movement suite, creating a full orchestration on the basis of Koechlin’s work. The first performance of the suite took place on February 3, 1901, at the Concerts Lamoureux in Paris, with Camille Chevillard conducting. In 1909, Fauré added the “Sicilienne” as a fourth movement to the suite, utilizing Koechlin’s 1898 orchestration. This suite runs about 15 minutes in performance. Fauré’s orchestration calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, 1 or 2 harps, and strings.
A 19th-century illustration of Mélisande and Pelléas at the fountain where they discover their love.
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Most of us know and love these four notes. Allegro con brio
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Serenade for Tenor, Horn, and Strings, Opus 31 composed 1943
hundredth birthday falls on No vember 22 of this year. He always regarded his birthday as an auspicious date because it is also St. Cecilia’s Day, dedicated to the patron saint of music — a day celebrated in a great series of Odes by Henry Purcell, the 17th-century English composer with whom Britten always felt a special affinity. The centennial allows us to look back at his achievement and be reminded once again how immensely varied and enduring his music can be. Britten’s first opera, Peter Grimes, performed in London in June 1945, laid to rest the pre-war notion, widely held, that he was merely very clever. This is now one of the few 20th-cen tury operas that belong firmly in the repertoire of the world’s opera houses. And the series of operas that followed, all very different one from another, are regularly staged. In the 1950s, he had passionate admirers who formed something of a cult around the Aldeburgh Festival, held every year since 1948 in Britten’s hometown. The cult gradually meta morphosed into a worldwide recognition that each year’s new offerings were likely to be major events, as indeed they were. Britten’s music not only carries a powerful message, usually concerning the exploitation and vulnerability of weaker souls, it also displays an exceptional versatility. Writing for children or amateurs, he produced such effective pieces as the Hymn to St. Cecilia and Noye’s Fludde; his chamber music includes four string quartets and a series of works for cellist Mstislav Rostropovich (definitely not for amateurs). Of his works for orchestra, the Sinfonia da Requiem and The Young Person’s Guide to the Orchestra never fail to impress. The War Requiem is unequalled among modern choral works. His feeling for the English language is marvelously illustrated in a long series of song cycles and folksong arrangements — and including his Serenade for Tenor, Horn, and Strings. There are choral works, ballets, and chamber operas, too, all ready for performance and all repaying our curiosity and admiration. Britten left England for the United States in May 1939, alarmed at the darkening clouds toward war in Europe, and keen to follow his friend, the poet W. H. Auden, who felt that BENJAMIN BRITTEN’S
by
Benjamin
BRITTEN born November 22, 1913 Lowestoft Suffolk, England died December 4, 1976 Aldeburgh Suffolk, England
Severance Hall 2013-14
About the Music
43
Benjamin Britten, circa 1945.
‘‘
It is cruel, you know, that music should be so beautiful. It has the beauty of loneliness, of strength and freedom. The beauty of disappointment and never-satisfied love. The cruel beauty of nature, and the everlasting beauty of monotony.
‘‘
—Benjamin Britten
being useful as a creative artist was no longer possible in Brit ain. Britten returned in early 1942, drawn by a powerful at tachment to his country, and in particular to a certain part of the country, East Anglia, where he had grown up and which he made his permanent home. At the time, he had the promise of $1000 from the Koussevitsky Foundation as a commission for an opera, and he had the seeds of an opera about the Suffolk fisherman Peter Grimes already planted in his mind. Before composition of the opera began in earnest (early in 1944), Britten composed a number of smaller works, perhaps wisely allowing his conception of the opera to take shape with out haste. The finest of these is the Serenade for Tenor, Horn, and Strings, which he composed in March and April 1943. Throughout his life, many of his works were written for his long-standing partner, the tenor Peter Pears, but he responded eagerly to several other great musicians he encountered, in cluding Julian Bream, Dietrich Fischer-Dieskau, and Mstislav Rostropovich. For the Serenade, the inspiration was the phe nomenal horn playing of Dennis Brain, himself the son of the celebrated horn player Aubrey Brain. Britten heard Dennis playing in the Royal Air Force Orchestra, for which he wrote a number of pieces with ever-harder solos for the principal horn. The pairing of tenor voice and French horn in the Serenade is a particularly happy match, and both the choice of poems and Britten’s setting of each one reveal his genius. The theme is the night, the falling darkness, and the soul’s conscience do ing its work. A Prologue for the horn alone is written for the natural harmonics of the instrument, some of which are out of tune with the modern chromatic scale, to suggest the natural world that fosters the beauty and terror of the night. Pastoral is by the obscure 17th-century poet Charles Cotton, full of naive images of the dusk and illuminated by a haunting downward arpeggio in both voice and horn. Tennyson’s Nocturne brilliantly evokes the distant bugle at nightfall, followed by Blake’s dark Elegy about the worm in the rose and the impermanence of beauty. The horn’s ago nized falling half-steps in a long introduction are echoed by the tenor’s first words, “O rose.” And at the end, the same two notes connect directly to the grim Lyke-Wake Dirge, a 15thcentury poem in north English dialect about the soul’s ordeals in purgatory. Britten brilliantly creates a series of variations to accompany the unvarying refrain in the voice, with the horn Severance Hall 2013-14
About the Music
At a Glance Britten wrote his Serenade for Tenor, Horn, and Strings in 1943 (while hospitalized for a case of measles). Earlier that year, the young horn virtuoso Dennis Brain had asked Britten to write a piece for him. The first performance was given on October 15, 1943, at London’s Wigmore Hall, with Peter Pears as the tenor soloist and Dennis Brain on horn, conducted by Walter Goehr. This work runs about 25 minutes in performance. Britten scored it for solo tenor, solo horn, and strings. The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.
BENJAMIN
Britten
1OO
AT
This is one of several works that The Cleveland Orchestra is performing this season in commemoration of the 100th anniversary of Britten’s birth.
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The Cleveland Orchestra Severance.indd 1
9/11/13 1:01 PM
joining in at the climax and the music gradually fading to a single line. Particularly disturbing is the dislocation by one beat of the last line “And Christe receive thy saule” each time it is heard. Ben Jonson’s Hymn strikes a brighter note, with its invocation to Di ana the huntress (and the moon goddess) and its virtuoso horn part. The final poem is Keats’s Sonnet, in which the singer pleads “Save me from cu rious Conscience . . . burrowing like a mole.” The strings alone, divided into many parts, accompany this song, and they vanish at the end into the darkness of the night. Meanwhile, the horn player has moved offstage to play the Epilogue, a literal echo of the Prologue. Composed when Britten was at the height of his powers, the Serenade remains one of his most moving and accomplished works. All the more striking that soon after he wrote it he described it in a letter to a friend, with characteristic understatement, as “not important stuff, but quite pleasant, I think.” —Hugh Macdonald © 2013
1. Prologue (solo horn) 2. Pastoral
The day’s grown old; the fainting sun Has but a little way to run, And yet his steeds, with all his skill, Scarce lug the chariot down the hill.
The shadows now so long do grow, That brambles like tall cedars show; Mole hills seem mountains, and the ant Appears a monstrous elephant.
A very little, little flock Shades thrice the ground that it would stock; Whilst the small stripling following them Appears a mighty Polypheme.
And now on benches all are sat, In the cool air to sit and chat, Till Phoebus, dipping in the west, Shall lead the world the way to rest.
—Charles Cotton (1630-1687) TEX TS CONTINUE — PLEASE TURN PAGES QUIETLY
Severance Hall 2013-14
About the Music / Sung Text
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Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL A N D O RC H ES TR A
In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in its history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through THE cash gifts and legacy commitments, while also securing broad-based and increasCLEVELAND ORCHESTRA ing annual support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of September 10, 2013. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. GIFTS OF $5 MILLION AND MORE
The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler
Maltz Family Foundation Anonymous
GIFTS OF $1 MILLION TO $5 MILLION
Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Hyster-Yale Materials Handling NACCO Industries, Inc. Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation
The Andrew W. Mellon Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund PNC Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)
GIFTS OF $500,000 TO $1 MILLION
Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Jon A. Lindseth Ms. Nancy W. McCann
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Medical Mutual of Ohio The Honorable and Mrs. John Doyle Ong Parker Hannifin Corporation The Payne Fund Charles and Ilana Horowitz Ratner Mr. and Mrs. Lawrence M. Sears Mr. and Mrs. Richard K. Smucker Anonymous
Sound for the Centennial Campaign
The Cleveland Orchestra
GIFTS OF $250,000 TO $500,000
Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Sidney E. Frank Foundation David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch
Dr. Vilma L. Kohn Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. O’Neill Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort
GIFTS OF $100,000 TO $250,000
Mr. and Mrs. George N. Aronoff Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Albert I. and Norma C. Geller Hahn Loeser + Parks LLP Iris and Tom Harvie Jeff and Julia Healy Mr. Daniel R. High Mr. and Mrs. S. Lee Kohrman Mrs. Emma S. Lincoln Dr. and Mrs. Sanford E. Marovitz The Nord Family Foundation Mr. Gary A. Oatey
Severance Hall 2013-14
Polsky Fund of Akron Community Foundation Helen Rankin Butler and Clara Rankin Williams RPM International Inc. Mrs. David Seidenfeld Naomi G. and Edwin Z. Singer Ms. Lorraine S. Szabo Virginia and Bruce Taylor Ms. Ginger Warner The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White Katie and Donald Woodcock William Wendling and Lynne Woodman * deceased
Sound for the Centennial Campaign
49
Where you turn after you turn off the day. Now with more news and information programming during the day and more of your classical music favorites in the evening.
The new WKSU 89.7 is the perfect companion for every part of your day. Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 13-1685
3. Nocturne
The splendour falls on castle walls And snowy summits old in story: The long light shakes across the lakes, And the wild cataract leaps in glory: Blow, bugle, blow, set the wild echoes flying, Bugle blow; answer, echoes, dying, dying, dying.
O hark, O hear! how thin and clear, And thinner, clearer, farther going! O sweet and far from cliff and scar The horns of Elfland faintly blowing! Blow, let us hear the purple glens replying: Blow, bugle; answer, echoes, dying, dying, dying.
O love, they die in yon rich sky, They faint on hill or field or river: Our echoes roll from soul to soul, And grow for ever and for ever. Blow, bugle, blow, set the wild echoes flying. And answer, echoes, answer, dying, dying, dying.
—Alfred, Lord Tennyson (1809-1892)
4. Elegy
O Rose, thou art sick! The invisible worm, That flies in the night Does thy life destroy.
—William Blake (1757-1827) TEX TS CONTINUE — PLEASE TURN PAGES QUIETLY
W I T H
S P E C I A L
A P P R E C I AT I O N
Student Marketing Advisors 2013-14 Chad Gourley
Charlotte Oliver
Student Ambassadors 2013-14 Alex Ahurn Mary Jane Booker Xi Chen Kaleb Chesnic
Severance Hall 2013-14
Chris Lash Jeffrey Malashock Kushal Shah Julissa Shinsky
Serenade: Sung Texts
Rina Sugawara Max Turski William West Rachel Wilken
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5. Dirge
This ae nighte, this ae nighte, Every nighte and alle, Fire and fleet and candle‑lighte, And Christe receive thy saule.
If ever thou gavest hosen and shoon, Every nighte and alle, Sit thee down and put them on; And Christe receive thy saule.
From Whinny‑muir when thou may’st pass, Every nighte and alle, To Brig o’ Dread thou com’st at last; And Christe receive thy saule.
If ever thou gavest meat or drink, Every nighte and alle, The fire sall never make thee shrink; And Christe receive thy saule.
This ae nighte, this ae nighte, Every nighte and alle, Fire and fleet and candle‑lighte, And Christe receive thy saule.
When thou from hence away art past, Every nighte and alle, To Whinny‑muir thou com’st at last; And Christe receive thy saule.
If hosen and shoon thou ne’er gav’st nane Every nighte and alle, The whinnes sall prick thee to the bare bane; And Christe receive thy saule.
From Brig o’ Dread when thou may’st pass, Every nighte and alle, To Purgatory fire thou com’st at last; And Christe receive thy saule.
If meat or drink thou ne’er gav’st nane, Every nighte and alle, The fire will burn thee to the bare bane; And Christe receive thy saule.
—Lyke Wake Dirge, Anonymous (15th century)
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Serenade: Sung Texts
The Cleveland Orchestra
6. Hymn
Queen and huntress, chaste and fair, Now the sun is laid to sleep, Seated in thy silver chair, State in wonted manner keep: Hesperus entreats thy light, Goddess excellently bright.
Earth, let not thy envious shade Dare itself to interpose; Cynthia’s shining orb was made Heav’n to clear when day did close: Bless us then with wishèd sight, Goddess excellently bright.
Lay thy bow of pearl apart, And thy crystal shining quiver; Give unto the flying hart Space to breathe, how short so-ever: Thou that mak’st a day of night, Goddess excellently bright.
—Ben Jonson (1572-1637)
7. Sonnet
O soft embalmer of the still midnight, Shutting, with careful fingers and benign, Our gloom‑pleas’d eyes, embower’d from the light, Enshaded in forgetfulness divine: O soothest Sleep! if so it please thee, close, In midst of this thine hymn my willing eyes. Or wait the “Amen” ere thy poppy throws Around my bed its lulling charities. Then save me, or the passèd day will shine Upon my pillow, breeding many woes, Save me from curious conscience, that still lords Its strength for darkness, burrowing like a mole; Turn the key deftly in the oilèd wards, And seal the hushèd casket of my Soul.
—John Keats (1795-1821)
8. Epilogue (solo horn, offstage) Severance Hall 2013-14
Serenade: Sung Texts
53
Chopin for Lovers
Celebra
Every work on the program is inspired by a different woman in the composer’s love life!
December 6, 2009 ® Kulas Chopin the Series Patriot of Keyboard Conversations with The heroic Polonaises, the Jeffrey poignant Siegel and bouyant 26th Season 2013-2014 Mazurkas, and the vivacious Waltzes.
Presented by Cleveland State University’s Center for Arts and Innovation
March 14, 2010 Masterly Chopin the Storyteller
Sunday, September 29, 2013 The Miraculous Mozart
Enthralling Epic poems and short stories in tone. Ballades of Sunday, December 15, 2013 Chopin and Brahms, Novelettes of Schumann. Charming The Glory of Beethoven
“An Afternoon and exhilarati The Romantic Music of Chopin “An afternoon entertaining talk caress and Worksofof Chopin that the ear and point to exhilarating music.” the future. - The Sunday, May 4, 2014 – The Washington Post April 25, 2010 Scintillating Chopin and the Future
Sunday, January 26, 2014
Mistresses and Masterpieces
All Concerts take place at 3:00 pm at Cl All concerts begin at 3:00 pm in Waetjen Auditorium, Euclid Ave. & E. 2 Cleveland State University’s Waetjen Auditorium, Ave. and or E. 21st St. www.csuohi Call (216)Euclid 687.5018 visit For more information call 216.687.5018 for more information. or visit www.csuohio.edu/concertseries/kc
The Museum of Diversity & Tolerance
WORLD PREMIERE EXHIBITION Opening October 8, 2013
Political scandal is brought to life as visitors examine the famous case that sent Jewish officer Alfred Dreyfus to life imprisonment on Devil’s Island.
You’ll be transported to 1890s Paris “The Beautiful Era” and the dark realities of anti-Semitism and government corruption. Could it, DOES it happen today? Come see for yourself. In collaboration with the University of Pennsylvania’s Lorraine Beitler Collection of the Dreyfus Affair. MALTZ MUSEUM OF JEWISH HERITAGE
2929 Richmond Road • Beachwood, Ohio 44122 216.539.0575 • mmjh.org SIGNATURE SPONSORS
Audrey & Albert Ratner
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BENEFACTOR SPONSORS
Donna Yanowitz Ronald B. Cohen
The Cleveland Orchestra
Symphony in D minor created 1887-88
César Franck has become enshrined in cliché and caricature, for his name is never mentioned without refer ence to the organ (his main instrument), to his disciples (his students), and to cyclic form (which he did not invent and did not exclusively apply). The picture of a saintly man leading a school of young composers somehow separate from the main stream clings to the mythology of French music in the later 19th century. Yet one can easily listen to this great Symphony in D minor and have no awareness that its composer was an organist or a Catholic or a teacher or the bearer of saintly moral qualities. The last attribute is in any case open to doubt, since he was a man like any other, prone to human failings. Franck was indeed the object of a hagiography stemming from his leading student, Vincent d’Indy, a man not given to half-measures, who was commendably anxious, as a militant Catholic, to raise his teacher’s reputation to a level of sanctity in the manner so successfully adopted by the Germanic disciples of Richard Wagner. As a young man, Franck had been introduced to the world as a virtuoso pianist, soon recognized by Franz Liszt. But much of his life passed in relative obscurity; he was forty years old be fore he emerged as a composer above the ordinary run. He later became known as an organist and a teacher, which hindered any recognition of his very real aspirations to write operas — a handicap also encountered by both Lalo and Saint-Saëns who, having earned early reputations as “symphonists,” could not be trusted in the theater because of the persistence of French prejudice about the elite exclusivity of the “scène lyrique.” Franck played a part in the great resurgence of French mu sic after the country’s political humiliations of 1870. Organist at the church of Sainte-Clotilde since 1858, he led an organ class at the Paris Conservatoire for many years, which was a com position class in all but name. Most of his best-known works belong to the last ten years of his life, a decade of astonishing productivity. In addition to a heavy load of teaching and the huge body of new works he was writing (organ music, cham ber music, two operas, and the oratorio Les Béatitudes), he also ran the Société Nationale de Musique from 1886 to his death, THE IMAGE OF
by
César
FRANCK born December 10, 1822 Liège (then part of the Netherlands) died November 8, 1890 Paris
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About the Music
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Most of Franck’s bestknown works were written in the last ten years of his life, a decade of astonishing activity and productivity in teaching and writing. The Symphony in D minor was written very speedily in the middle of this feverish existence.
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having taken over from Saint-Saëns. The Symphony in D minor was written very speedily in the middle of this feverish existence. Urged to compose a sym phony by his students (since great composers were expected to match themselves with Beethoven), the real prod toward its writing probably came from three symphonies by Franck’s con temporaries that had all been heard for the first time early in 1887. These were Lalo’s Symphony in G minor (a sadly neglected work), d’Indy’s Symphonie sur un chant montagnard français (another work of great interest), and Saint-Saëns’s Symphony No. 3, well known today for the prominence of the organ part. Despite, or perhaps because of, an energetic campaign on behalf of the composer launched by his students, Franck’s work had a mixed reception when it was performed, led not by Charles Lamoureux, whom Franck would have preferred (he was unaware that Lamoureux had turned against his music), but instead at the inferior Société des Concerts in February 1889. It has always aroused contrary opinions. While Debussy de scribed it as “ébouriffante,” which might be translated as “stun ning,” Ravel took exception to its orchestration, especially the “awkward” double basses and the “screaming” trumpets. The British writer Donald Tovey classed it as a “wonderful and most lovable” symphony. Yet at its first performance in Boston, in 1899, the Boston Herald, shame to say, declared: “One yearns for something that suggests joyousness of spirit, for something that uplifts if only for a moment to vary the sense of depression that fills the listener.” Franck was not aiming for the flaky jollity the critic de sired, but instead more for a serious exploration of symphonic thought. And, indeed, the Symphony in D minor does uplift many with something like the conviction that all serious sym phonies since Beethoven aspire to. Set in three movements rather than the usual four, Franck’s symphony pursued the course of thematic integration that he learned from Schubert and Liszt, and which Saint-Saëns deployed with such success in his Third Symphony (structured in just two movements). The accumulation of themes becomes more intense as the work proceeds, so that the finale gathers all the threads of the argu ment together. The music proceeds from statement to conclu sion in the manner of finely judged rhetoric, and the listener is left with a sense of wholeness matched by relatively few late 19th-century symphonies, so many notorious for their sprawl About the Music
The Cleveland Orchestra
ing dimensions. At forty minutes, Franck’s Symphony can be classed as a compact and compelling work. From the beginning of the first movement, the listener is aware of the music’s tendency to shift instantly from key to key. D minor is firmly established at the start both of the opening Lento section and of the Allegro to which it quickly leads, but other keys keep intervening, and the whole opening sequence from slow to fast is soon repeated a minor third higher, in F minor. F minor leads to F major, the relative major of D minor, so that a skeleton of firm tonality underpins the flesh of shifting keys. However far and however capriciously the music seems to move from key to key, the sense of homecoming at the end of the movement (and at the end of the work) is overwhelm ingly strong. The music is never hurried. The words non troppo, mean ing “not too much,” modify the Allegro marking of both first and last movements. The middle movement is not a slow movement, as might be expected in a symphony, nor is it a scherzo, a style that so many symphonists strived to write. It is, instead, a plaintive song for english horn accompanied by harp and pizzicato strings. Franck regarded this as one of his finest inspirations. The concept’s ramifications reach far, and it breeds a whispy triplet figure in the strings that gives a magical delicacy to the work. Even in the finale, the influence of the middle movement is felt, for its themes are not yet spent, and the buoyant step that opens the last movement blends imper ceptibly with the steady tread of the english horn’s melody and even with the main themes of the first movement. Symphonic integration had never been so skillfully achieved. The Symphony in D minor was dedicated to Franck’s stu dent Henri Duparc, composer of a tiny body of music includ ing an exquisite series of songs. In 1935, the manuscript was accidentally destroyed in a fire at the Duparc family chateau.
At a Glance Franck completed his only symphony in 1888 and dedicated it to the composer Henri Duparc, a friend and former student. The first performance was given on February 17, 1889, by the Concerts du Conservatoire conducted by Jules Garçin. The symphony was introduced to the United States on April 14, 1899, by Wilhelm Gericke and the Boston Symphony Orchestra. This symphony runs about 40 minutes in performance. Franck scored it for 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, harp, and strings. The Cleveland Orchestra first performed this symphony in January 1921 with founding music director Nikolai Sokoloff. Most recently, Andrew Davis led a weekend of performances at Severance Hall in May 2008.
—Hugh Macdonald © 2013
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About the Music
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Marek Janowski Polish conductor Marek Janowski is acknowledged for his artistry and performances on the world’s concert stages and at leading opera houses. He has served as artistic director of the Berlin Radio Symphony Orchestra since 2002, and in 2008 was offered a lifetime position with that orchestra. He made his Cleveland Orchestra debut in February 2012. Born in Warsaw, Poland, and educated in Germany, Marek Janowski held assistant positions in Aachen, Co logne, Düsseldorf, and Hamburg. He served as general music director in Freiburg im Breisgau (1973-75) and in Dortmund (1975-79). His international reputation grew rapidly, and he soon found himself conducting opera around the world. Mr. Janowski has led performances with the world’s renowned opera houses, including those of Berlin, Chicago, Ham burg, Munich, New York, Paris, San Francisco, and Vienna. In the 1990s, he eased back his operatic schedule to concentrate more on orchestral repertoire. Over the decades, Marek Janowski also served as music director of the Orchestre Philharmonique de Radio France (1984-2000), chief conductor of Co logne’s Gürzenich-Orchester (1986-90), and as principal guest conductor of the Deutsche Symphonie-Orchester Berlin (1997-99). More recently, he was music director of the Orchestre de la Suisse Romande in Geneva (2005-2012), music director of the Orchestre Philharmonique de Monte-Carlo (2000-05) and also chief conductor with the Dresden Philharmonic (2001-03). In demand as guest conductor across Europe and North America, Marek Janowski has worked on a regular basis with the Boston Symphony Orchestra, Pittsburgh Symphony Orchestra, Philadelphia Orchestra, and the San Francisco Symphony. Other appearances have included enagements with the Budapest Festival Orchestra, Danish National Symphony Orchestra, Hamburg’s North German Radio Symphony Orchestra, Orchestre de Paris, and Zurich’s Tonhalle Orchestra. Marek Janowski has led many recordings during the course of his career. His current multi-season series with the Berlin Radio Symphony Orchestra of all ten of Wagner’s mature operas in concert form is also being committed to disc by PentaTone ������������������������������������������������������������������������ �������������������������������������������������������������� — with several of these live concert recordings receiving par ticular praise for the conductor’s attention to detail, overall pacing, and unified musical approach. His earlier studio recording of Wagner’s Ring cycle on RCA with the Staatskapelle Dresden (1980-83) remains highly praised. His recent cy cle of Bruckner symphonies for PentaTone also has received critical acclaim.
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Guest Conductor
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Matthew Polenzani American tenor Matthew Polenzani is recognized among the most gifted lyric tenors of his generation, with a career singing in concert and operatic appearanc es on leading stages across North American and Europe. He made his Cleveland Orchestra debut at Blossom in 2000, and his Severance hall debut in June 2007. A regular with New York’s Metropolitan Opera, Mr. Polenzani has sung in nearly 300 performances with the company. The many highlights from his recent Met seasons include the premieres of Bartlett Sher’s production of Doni zetti’s The Elixir of Love, which opened the 2012-13 season, and David McVicar’s production of Donizetti’s Maria Stuarda. This season he returns to the Met in Mozart’s CosÌ fan tutte and Verdi’s Rigoletto, performs at the Bavarian State Opera, Lyric Opera of Chicago, and Royal Opera Covent Garden, and makes his debut at the Deutsche Oper Berlin. Following Mr. Polenzani’s debut with Opera Bordeaux in 1998, appearances in other major European theaters in clude performances at the Teatro Communale in Florence, Paris Opéra, Bavar ian State Opera, Rome Opera, Vienna State Opera, Naples Teatro Regio, London’s Royal Opera House, and the Salzburg Festival — in works ranging from Berlioz to Donizetti and Verdi, Massenet to Mozart, and Rossini to Richard Strauss. Also in demand as a concert performer, Matthew Polenzani has sung with orchestras across North America and Europe, including engagements with the ensembles of Boston, Chicago, Cincinnati, Los Angeles, Minnesota, New York, St. Louis, and San Francisco, as well as performances with the Berlin Philharmonic, Ensemble Orchestral de Paris, Orchestra della Santa Cecilia, Orchestra Giovanile Italiana, and the Orchestre National de France. In recital, Matthew Polenzani’s appearances have including programs in Boston, London, Philadelphia, New York, and the Verbier Festival. Recently, he appeared on all three of Carnegie Hall’s stages — in concert with the Met Cham ber Ensemble at Zankel Hall, in recital with James Levine at the piano in Weill Re cital Hall, and in a Schubert Song Evening in Isaac Stern Auditorium with several colleague singers and James Levine as pianist. Mr. Polenzani’s artistry can be heard on recital albums recorded by Hyperion, Oehms Classics, VAI, and Wigmore Hall, as well as on DVDs including Donizetti’s Don Pasquale, Mozart’s Don Giovanni and Magic Flute, and Verdi’s La Traviata. Matthew Polenzani was the recipient of the 2004 Richard Tucker Award and the Metropolitan Opera’s 2008 Beverly Sills Artist Award. An avid golfer, he lives in New York with his wife, mezzo-soprano Rosa Maria Pascarella, and their three sons.
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Tenor Soloist
The Cleveland Orchestra
Richard King
Principal Horn George Szell Memorial Endowed Chair The Cleveland Orchestra
P H OTO BY R O G E R MA S T R O I A N N I
Richard King became principal horn of The Cleveland Orchestra at the begin ning of the 1997-98 season, having joined the ensemble in 1988 as associate principal at the age of 20. Mr. King has been featured many times as soloist with the Orchestra, most recently in Mozart’s Horn Concerto No. 2 in 2011. He has also appeared as soloist with the To kyo Symphony and the Auckland Philharmonia. A native of Long Island, New York, Richard King began playing the horn at the age of nine. He briefly attended New York’s Juilliard School of Music and subsequently earned a diploma from Philadelphia’s Curtis Institute of Music. His primary horn teacher was former Cleveland Orchestra principal Myron Bloom. While at Curtis, Mr. King spent summers at the Tanglewood, Spoleto USA, and SchleswigHolstein music festivals. An active chamber musician and recitalist, Mr. King has performed as a member of the Center City Brass Quin tet since 1985. Their five recordings have been met with wide critical acclaim, and a sixth is about to be released in the United States. His discography also includes an album of Chamber Music for Horn and an al bum of Schubert songs transcribed for horn and piano, both on Albany Records. Richard King is a faculty member at the Cleveland Institute of Music and the Kent/Blossom Music Festival professional training program. He previously served on the faculties of the Oberlin College Conservatory of Music and Carne gie-Mellon University. He plays a new Vintage Conn 8D horn made in Eastlake, Ohio, by the Conn-Selmer musical instrument company. He is also a clinician for Conn-Selmer. Mr. King lives in Cleveland Heights with his wife, Julie, a cel list, and their children, Charlie and Amelia.
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Horn Soloist
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The Cleveland Orchestra
B
om c edusi ND re E m NA AN H F T D F E e ing s O V atploracieT H O
F ex leg E E
D AN
SH O ST AK O
VI CH BY FRANK J. OTERI Severance Hall 2013-14
between the death of Lud wig van Beethoven and the emergence of Dmitri Shostakovich as a composer was a time of transformative change — from the advent of electricity, recorded sound, and motion pictures to the unleash ing of the destructive power of modern warfare, the globalization of the world, and an enlarging struggle for human rights, liberty, and freedoms. Even so, Beethoven and Shostakovich’s music and their shared outlook on humanity’s place in the world show a re markable kinship. Beethoven and Shostakovich both began their compositional careers as child prodigies and were also formidable piano virtuo sos. They both shared their most private thoughts in their string T H E C E N T U RY T H AT T R A N S P I R E D
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BEETHOVEN
N E VO H T E E B
Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers.
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quartets, but made their most important public musical state ments with their symphonies. In fact, both took the abstract in strumental genre of the symphony and used it to tell compelling narratives. For example, both composers created symphonies that attempted to sonically convey the concept of fate — perhaps most notably for Beethoven in his Fifth Symphony and for Shostako vich in his tragic Eighth Symphony, which he composed dur ing the Second World War. (Both of these symphonies are among those being performed as part of The Cleveland Orchestra’s “Fate and Freedom” Festival, October 22-26.) Works such as these reveal that Beethoven and Shostako vich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers. The strained relationships both composers had with the politically powerful are also equally legendary — Beethoven’s disdain for authority and aristocracy perhaps best exemplified by his crossing out the dedication of his Third Symphony, the “Eroi ca” (or “heroic”), to Napoleon upon learning that that small man had declared himself an emperor; and Shostakovich’s run-ins with a dictator even more ruthless than Napoleon, Joseph Stalin. A curious correlation to Beethoven’s abandoned Eroica dedica tion is Shostakovich’s abortive attempt at creating a “Lenin Sym phony,” which he described working on 1938. Such a symphony never materialized; in its place was the purely instrumental Sixth Symphony in 1939. (The Cleveland Orchestra pairs the Eroica with this Sixth Symphony on Thursday, October 24.) Beethoven and Shostakovich also both suffered from chronic poor health in their later years, yet their final composi tions seem to transcend the vagaries of human existence. After their deaths, each was hailed as a champion for individual artistic freedom who triumphed despite often adverse personal condi tions. Nowadays musicologists as well as avid fans are still at tempting to find hidden meanings buried in their scores — such as the allusions to Freemasonry in Beethoven’s Fourth Symphony (performed on October 25) or secret autobiographical ciphers in Shostakovich’s Tenth Symphony (performed on October 26). But the parallels run much deeper than that. While Haydn and Mozart both hinted at it, Beethoven was the first composer to fully imbue the symphony with the same narrative and emo tional heft as a novel, play, or epic poem. Shostakovich, while certainly not the only significant symphonist of his era, was among the few composers who remained steadfastly committed Fate and Freedom
The Cleveland Orchestra
Beethoven’s abrasiveness was notorious and he never apologized; Shostakovich reinvented his outward musical persona simply to survive.
SHOSTAKOVICH
to creating large musical statements in this medi um at a time when most composers rejected the symphony as an anach ronism. Shostakovich completed a total of fif teen symphonies over the course of nearly half a century. For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an instrumen talist or a conductor could interpret and the standard bearer for what music was to be. A bust of this key compositional hero was a fixture of Shostakovich’s writing studio. And, fittingly, the Soviet quartet that premiered nearly all of Shostakovich’s string quartets (13 of the 15) was named the Beethoven Quartet. So deep was the influence of Beethoven on the young Shostakovich that the central theme for his earliest multi-movement orchestral work, the Theme and Variations in B-flat minor, Opus 3, which he composed at the age of 15, bears an uncanny resemblance to the most famous theme of Beethoven’s Ninth Symphony. Following Beethoven’s precedent in that monumental sym phony, Shostakovich also added a chorus to the final movements of his Second and Third symphonies — although both of these early compositions take nascent Soviet patriotism to an almost unbearably propagandistic level. (There is, however, a later work that clearly echoes the pathos of Beethoven’s setting of Schiller’s paean to universal brotherhood, Shostakovich’s controversial Symphony No. 13, “Babi Yar,” a work which also sets the words of a major poet, Yevgeny Yevtushenko, an outspoken critic of in justice in the Soviet Union. But Shostakovich’s 13th Symphony, which was virtually banned in the Eastern Bloc for nearly a de cade after its first performance and finally entered the repertoire after a copy of the score was smuggled into the West, is a far cry from an Ode to Joy; if anything, it is an Ode to Despair!) between these two com posers, there are also some stark differences between Beethoven and Shostakovich which are equally fascinating. Beethoven was a lifelong bachelor whose romantic liaisons will forever be DESPITE THE DEEP CONNECTIONS
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Fate and Freedom
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For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an artist could interpret and the standard bearer for what music was to be.
shrouded in mystery; Shostakovich was married three times. Beethoven was notorious for his abrasiveness and never apologized; the castigated Shostakovich reinvented his composi tional persona several times during his life to survive the cultural purges that Stalin unleashed and ultimately triumphed because of this — Shostakovich famously declared his masterful Fifth Symphony to be “a Soviet artist’s reply to just criticism” and the work was an instant sensation both at home and abroad and it re mains so to this day. Perhaps most strikingly, cinema did not exist during Beethoven’s lifetime and writing music for movies was an im portant revenue stream for Shostakovich throughout his career — in fact his 35 film soundtracks dwarf the combined total of his number of symphonies and string quartets. Shostakovich’s film scores also allowed him greater freedom to experiment than he had most of the time with his music for the concert hall; sev eral of his soundtracks include music featuring the theremin, an early electronic instrument that would become a hallmark of American horror and sci-fi movie scores years after Shostakovich pioneered its use in motion pictures. Beethoven, of course, did not live into the age of electricity and therefore could never have tinkered with a theremin. He did, however use a glass armonica (a musical curiosity that sounds similarly otherworldly) for the incidental music he composed for the 1814 production of Johann Friedrich Duncker’s play Leonore Prohaska, music that is rarely revived nowadays. During the week-long Fate and Freedom Festival, The Cleveland Orchestra’s juxtaposition of some of the greatest works by Beethoven and Shostakovich — along with a rare screening of the 1929 silent film The New Babylon featuring Shostakovich’s very first film score — offers audiences a unique opportunity to reflect on how each of these composers responded to the cen tral concerns of their respective eras and how their now timeless work continues to have a deep impact on all of us. ASCAP award-winning composer and music journalist Frank J. Oteri is the composer advocate at New Music USA and senior editor of its web magazine “NewMusicBox.”
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Fate and Freedom
The Cleveland Orchestra
AND
FRANZ WELSER-MÖST
MUSIC OF
THE CLEVELAND ORCHESTRA A N D
FATE F R E E D OM
BEETHOVEN SHOSTAKOVICH IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE
OCTOBER 22-26
○
Experience a week of exploration across the highly tempestuous and deeply emotional intermingling of music and politics. Music Director Franz Welser-Möst and The Cleveland Orchestra take a fascinating look at two highly autobiographical composers, whose lives and careers were separated by over a century, yet whose works demonstrate how artists of two eras wrestled with themes of freedom, as well as personal and collective liberty and politics. The festival includes three concerts, plus two film screenings in partnership with the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque. Pre-film and pre-concert talks, and a chamber music performance by members of The Cleveland Orchestra, are also featured.
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Tuesday October 22 at 7:00 p.m. FILM: A CLOCKWORK ORANGE at the Cleveland Institute of Art Cinematheque Opening The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing, co-founder of the Cinematheque.
Wednesday October 23 at 6:30 p.m. FILM: THE NEW BABYLON at the Cleveland Museum of Art Shown as part of The Cleveland Orchestra’s “Fate and Freedom” festival, the revolutionary silent film The New Babylon (1929) features Shostakovich’s first film score. Preceded by a discussion between Frank J. Oteri and John Ewing moderated by James Krukones, associate professor of history at John Carroll University.
THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor at Severance Hall Thursday October 24 at 7:30 p.m.
BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6
PRE-CONCERT: Franz Welser-Möst discusses Shostakovich and Beethoven and their symphonies with Mark Williams, the Orchestra’s director of artistic planning, beginning at 6:30 p.m. on the stage at Severance Hall.
Friday October 25 at 8:00 p.m.
BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8
PRE-CONCERT: Frank J. Oteri, New Music USA’s composer advocate and senior editor of NewMusicBox, presents a pre-concert talk with Rebecca Mitchell, visiting assistant professor of Russian/Soviet history at Oberlin College, at 7 p.m. in Reinberger Chamber Hall at Severance Hall.
Saturday October 26 at 8:00 p.m.
BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10
PRE-CONCERT: Cleveland Orchestra musicians perform chamber music works by Beethoven and Shostakovich at 7 p.m. in Reinberger Chamber Hall at Severance Hall.
Related Event OPERA: SHOSTAKOVICH’S THE NOSE Saturday October 26 at 1:00 p.m. The Metropolitan Opera, Live in HD in select Northeast Ohio movie theaters
For Tickets: clevelandorchestra.com
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The Cleveland Orchestra Center for Future Audiences T H E C L E V E L A N D O R C H E S T R A ’s Center for Future Audiences was estab-
lished to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. The Center was created in 2010 with a $20 million lead endowment gift from the Maltz Family Foundation. Centerfunded programs focus on addressing economic and geographic barriers to attending Cleveland Orchestra concerts at Severance Hall and Blossom Music Center. Programs include research, introductory offers, targeted dis counts, student ticket programs, and integrated use of new technologies. The goal is to create one of the young est audiences of any symphony or chestra in the country. For additional information about these plans and programs, call us at 216-231-7464.
E N DOWE D FU N DS
Maltz Family Foundation Mr. and Mrs. Alexander M. Cutler
For information about contributing to this major endowment initiative, please contact the Orchestra’s Philanthropy & Advancement Department by calling Jon Limbacher, Chief Development Officer, at 216-231-7520.
THANK YOU
for helping develop tomorrow’s audiences today. 68
Center for Future Audiences
The Cleveland Orchestra
THE
CLEVELAND
Endowed Funds
ORCHESTRA
funds established as of August 2013
The generous donors listed here have made endowment gifts to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to The Clevelamd Orchestra, please call 216-231-7438.
ARTISTIC endowed funds support a variety of programmatic initiatives ranging
from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus. Artistic Excellence
Guest Artists Fund
George Gund III Fund
Artistic Collaboration
Joseph P. and Nancy F. Keithley
Artist-in-Residence Malcolm E. Kenney
Young Composers
Jan R. and Daniel R. Lewis
Friday Morning Concerts
Mary E. and F. Joseph Callahan Foundation
Radio Broadcasts
Robert and Jean Conrad Dr. Frederick S. and Priscilla Cross
Cleveland Orchestra Chorus
Jerome and Shirley Grover Meacham Hitchcock and Family
American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside
Severance Hall Guest Conductors Roger and Anne Clapp James and Donna Reid
Cleveland Orchestra Soloists Julia and Larry Pollock Family
The Eleanore T. and Joseph E. Adams Fund Mrs. Warren H. Corning The Gerhard Foundation, Inc. Margaret R. Griffiths Trust The Virginia M. and Newman T. Halvorson Fund The Hershey Foundation The Humel Hovorka Fund Kulas Foundation The Payne Fund Elizabeth Dorothy Robson Dr. and Mrs. Sam I. Sato The Julia Severance Millikin Fund The Sherwick Fund Mr. and Mrs. Michael Sherwin Sterling A. Spaulding Mr. and Mrs. James P. Storer Mrs. Paul D. Wurzburger
Concert Previews
Dorothy Humel Hovorka
International Touring
Frances Elizabeth Wilkinson
Unrestricted
Art of Beauty Company, Inc. William P. Blair III Fund for Orchestral Excellence John P. Bergren and Sarah S. Evans Nancy McCann Margaret Fulton-Mueller Virginia M. and Jon A. Lindseth
CENTER FOR FUTURE AUDIENCES — The Cleveland Orchestra’s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, is working to develop new generations of audiences for The Cleveland Orchestra. Center for Future Audiences Maltz Family Foundation
Student Audiences
Alexander and Sarah Cutler
Endowed Funds listing continues
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Endowed Funds
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THE
CLEVELAND ORCHESTRA
Endowed Funds continued from previous page EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-
nections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year. Education Programs
Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice H. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler John and Sally Morley The Eric & Jane Nord Family Fund The William N. Skirball Endowment
Education Concerts Week
In-School Performances Alfred M. Lerner Fund
Classroom Resources
Charles and Marguerite C. Galanie
Cleveland Orchestra Youth Orchestra
The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling Jules and Ruth Vinney Touring Fund
Musical Rainbows Pysht Fund
Community Programming Alex and Carol Machaskee
The Max Ratner Education Fund, given by the Ratner, Miller, and Shafran families and by Forest City Enterprises, Inc.
SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestra’s concert home, Severance Hall. Keyboard Maintenance
William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. and Mrs. Richard A. Manuel Vincent K. and Edith H. Smith Memorial Trust
Organ
D. Robert and Kathleen L. Barber Arlene and Arthur Holden Kulas Foundation Descendants of D.Z. Norton Oglebay Norton Foundation
Severance Hall Preservation Severance family and friends
BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestra’s summer performances and maintenance of Blossom Music Center. Blossom Festival Guest Artist Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan
Landscaping and Maintenance
The Bingham Foundation Emily Blossom family members and friends The GAR Foundation John S. and James L. Knight Foundation
Blossom Festival Family Concerts David E. and Jane J. Griffiths
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Endowed Funds
The Cleveland Orchestra
A quiet park comes to life
University Circle Inc.’s WOW! Wade Oval Wednesdays
... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.
Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.
4600_OAC_B&W_5x8 7/17/08 2:45 PM Page 1
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The Cleveland Orchestra
THE CLEVELAN D ORCHESTRA
Corporate Support
The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.
Cumulative Giving
JOHN L. SEVERANCE SOCIETY $5 MILLION AND MORE
KeyBank PNC $1 MILLION TO $5 MILLION
Annual Support
gifts of $2,500 or more during the past year, as of September 5, 2013 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to artistic excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE
BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company
Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company
The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of September 2013.
$50,000 TO $99,999
PARTNERS IN EXCELLENCE $200,000 TO $299,999
BakerHostetler Eaton FirstEnergy Foundation Forest City Enterprises, Inc. PNC PARTNERS IN EXCELLENCE $100,000 TO $199,999
The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation Jones Day Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Dix & Eaton The Giant Eagle Foundation Litigation Management, Inc. Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc. Squire Sanders (US) LLP Thompson Hine LLP
$2,500 TO $24,999 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc.
Severance Hall 2013-14
Corporate Annual Support
American Greetings Corporation BDI Bank of America Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Graphics Group, Inc. Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Victor Kendall, Friends of WLRN Gallagher Benefit Services Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company Materion Corporation Miba AG (Europe) MTD Products, Inc. Nordson Corporation North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Oswald Companies PolyOne Corporation Pricewaterhouse Coopers LLP The Prince & Izant Company Richey Industries, Inc. The Sherwin-Williams Company Stern Advertising Agency Swagelok Company TriMark S.S. Kemp Tucker Ellis Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Anonymous (2)
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2013-14 season Woody sez:
the life & music of Woody Guthrie
september 13 – october 6, 2013
Experience the life of America’s greatest folk singer through riveting stories and over 25 of his legendary songs.
venus in fur november 1–24, 2013
Blurring the line between fantasy and reality, this electrifying and seductive comedy was lauded by The New York Times as “seriously smart and very funny.”
a christmas story november 29 – december 22, 2013
An all-new production in honor of the 30th anniversary of the beloved film. The perfect holiday treat for the entire family.
yentl
January 10 – february 2, 2014
A startlingly modern love story and a magical comedy that will win your heart.
breath and imaGination february 14 – march 9, 2014
This musical tale of faith, hope, and family traces African-American tenor Roland Hayes’ remarkable journey from rural Georgia to Carnegie Hall and Buckingham Palace.
clybourne park march 21 – april 13, 2014
A ferociously smart and pulverizingly funny satire that reveals the lives in one house through 50 years of societal changes.
informed consent april 23 – may 18, 2014
This world premiere takes us into the personal and national debate about science vs. belief and whether our DNA is our destiny. maurice hines is
tappin’ thru life may 30 – June 22, 2014
A celebration of Mr. Hines’ life and showbiz forerunners, including Frank Sinatra, Duke Ellington, and Nat King Cole. This feel-good show will have you tappin’ through the night.
216.241.6000 | clevelandplayhouse.com Groups of 10 or more save up to 40% by callinG 216.400.7027
THE CLEVELAN D ORCHESTRA
Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.
Cumulative Giving
JOHN L. SEVERANCE SOCIETY $10 MILLION AND MORE
The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION
The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION
The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation
Annual Support
gifts of $2,000 or more during the past year, as of September 5, 2013 $1 MILLION AND MORE
The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The George Gund Foundation The Andrew W. Mellon Foundation The Kelvin and Eleanor Smith Foundation $250,000 TO $499,000
Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund Ohio Arts Council $100,000 TO $249,999
Sidney E. Frank Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation $50,000 TO $99,999
The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation The Mandel Foundation National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999
$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation The Batchelor Foundation, Inc. (Miami) The Bernheimer Family Fund of the Cleveland Foundation Bicknell Fund Eva L. and Joseph M. Bruening Foundation Mary and Dr. George L. Demetros Charitable Trust Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The William O. and Gertrude Lewis Frohring Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Jean Thomas Lambert Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Miami-Dade County Department of Cultural Affairs (Miami) Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)
The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of September 2013.
The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Helen Wade Greene Charitable Trust John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) Polsky Fund of Akron Community Foundation The Reinberger Foundation The Sisler McFawn Foundation
Severance Hall 2013-14
Foundation/Government Annual Support
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THE CLEVELAN D ORCHESTRA
Individual Support
The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.
Lifetime Giving
JOHN L. SEVERANCE SOCIETY Daniel R. and Jan R. Lewis (Miami, Cleveland) $5 MILLION TO $10 MILLION
Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner
Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp Mr. George Gund III* Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson The Ralph and Luci Schey Foundation Anonymous (3) The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of September 2013.
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gifts during the past year, as of September 5, 2013 INDIVIDUAL GIFTS OF $500,000 AND MORE
$10 MILLION AND MORE
$1 MILLION TO $5 MILLION
Annual Support
Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis and Janet Rosel (Miami) Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999
Irma and Norman Braman (Miami) Francie and David Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999
James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Mr. and Mrs. Franz Welser-Mรถst Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999
Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. INDIVIDUAL GIFTS OF $50,000 TO $74,999
Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mr. Allen H. Ford Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick
Individual Annual Support
The Cleveland Orchestra
Leadership Council
Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami) Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Mr. and Mrs. Lawrence M. Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Mary M. Spencer (Miami) Barbara and David Wolfort Anonymous
The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:
INDIVIDUAL GIFTS OF $20,000 TO $24,999
Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. Nord Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Luci and Ralph* Schey R. Thomas and Meg Harris Stanton
Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Do Unto Others Trust (Miami) Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami) William J. and Katherine T. O’Neill Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Mr. and Mrs. Donald Stelling (Europe) Mr. Joseph F. Tetlak Tom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe)
INDIVIDUAL GIFTS OF $25,000 TO $29,999
INDIVIDUAL GIFTS OF $15,000 TO $19,999
Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Mr. and Mrs. Jon A. Lindseth Maltz Family Foundation Margaret Fulton-Mueller Mr. and Mrs. James A. Ratner Richard and Nancy Sneed (Cleveland, Miami) Paul and Suzanne Westlake
Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami) Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) Joyce and Ab* Glickman Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest
INDIVIDUAL GIFTS OF $30,000 TO $49,999
listings continue
Severance Hall 2013-14
Individual Annual Support
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THE CLEVELAN D ORCHESTRA listings continued
INDIVIDUAL GIFTS OF $10,000 TO $12,499
Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Tati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Miba AG (Europe) Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami) Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld Dr. and Mrs. Neil Sethi David and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeffrey M. Weiss Anonymous INDIVIDUAL GIFTS OF $12,500 TO $14,999
Mr. and Mrs. William E. Conway Tim and Linda Koelz Mr. and Mrs. Richard A. Manuel Rachel R. Schneider Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)
Crescendo
Annual Campaign Patrons
Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson
Jack Harley Iris Harvie Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Sawyer
Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects. The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.
Mr. and Mrs. George N. Aronoff Mr. William Berger Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. D. McGregor Brandt, Jr. Augustine* and Grace Caliguire Mr.* and Mrs. R. Bruce Campbell Richard J. and Joanne Clark Mrs. Barbara Cook Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Ms. Dawn M. Full Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Elaine Harris Green Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis T. K. and Faye A. Heston Joan and Leonard Horvitz Pamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Andrew and Katherine Kartalis Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Mr. Jeff Litwiller Edith and Ted* Miller Mr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Donald and Alice Noble Foundation, Inc. Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia Ratner Audra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Mr. and Mrs. Oliver E. Seikel Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Mrs. Gretchen D. Smith Jim and Myrna Spira Lois and Tom Stauffer Charles and Rosalyn Stuzin (Miami) Mrs. Blythe Sundberg Mrs. Jean H. Taber Dr. Russell A. Trusso Sandy and Ted Wiese Anonymous (3)* INDIVIDUAL GIFTS OF $7,500 TO $9,999
Mr. and Mrs. Dean Barry Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. Robert W. Briggs Ellen E. & Victor J. Cohn Supporting Foundation Mrs. Barbara Ann Davis Henry and Mary Doll listings continue
78
Individual Annual Support
The Cleveland Orchestra
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Severance Hall 2013-14
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THE CLEVELAN D ORCHESTRA listings continued
Nancy and Richard Dotson Mr. Paul Greig Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Amy and Stephen Hoffman Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust Patricia J. Sawvel Carol* and Albert Schupp Mr. Eric Sellen and Mr. Ron Seidman Naomi G. and Edwin Z. Singer Family Fund Mr. and Mrs. Donald W. Strang, Jr. Mrs. Marie S. Strawbridge* Bruce and Virginia Taylor Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499
Norman and Helen Allison Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. Blackstone Paul and Marilyn* Brentlinger Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. Owen Colligan Marjorie Dickard Comella Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Edward B. Davis Pete and Margaret Dobbins Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Alex Espenkotter Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Joy E. Garapic Mr. and Mrs. David Goldberg Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham David and Robin Gunning Clark Harvey and Holly Selvaggi Henry R. Hatch Robin Hitchcock Hatch
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Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Bob and Edith Hudson (Miami) Ms. Charlotte L. Hughes Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. and Mrs. William S. Kiser Mr. and Mrs. S. Lee Kohrman Mrs. Justin Krent Mr. Donald N. Krosin Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Shirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. Levey Mr. and Mrs. Adam Lewis Mr. Dylan Hale Lewis Ms. Marley Blue Lewis Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. and Mrs. Alex Machaskee Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Alexander and Marianna C.* McAfee Mr. and Mrs. James Meil Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami) Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Ann Jones Morgan Richard and Kathleen Nord Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Nan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen Preucil Lois S.* and Stanley M. Proctor Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Mr. William J. Ross Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Mr. and Mrs. David R. Sawyier Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee G. and Jane Seidman Charles Seitz (Miami) Mrs. Frances G. Shoolroy Marjorie B. Shorrock David Kane Smith George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami) Stroud Family Trust Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr.
Individual Annual Support
listings continue
The Cleveland Orchestra
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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED
Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi Don and Mary Louise Van Dyke Mr. Gregory Videtic Bill Appert and Chris Wallace (Miami)
Mr. and Mrs. Fred A. Watkins Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Fred and Marcia Zakrajsek Anonymous (3)
INDIVIDUAL GIFTS OF $3,500 TO $4,999
Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mrs. Joanne M. Bearss Mr. and Mrs. Jules Belkin Suzanne and Jim Blaser Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Ms. Maureen A. Doerner and Mr. Geoffrey T. White Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry Peggy and David* Fullmer Robert N. and Nicki N. Gudbranson Mr. Robert D. Hart Hazel Helgesen and Gary D. Helgesen Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Helen and Erik Jensen Barbara and Michael J. Kaplan Mr. James and Mrs. Gay* Kitson Dr. Gilles and Mrs. Malvina Klopman Mr. Thomas and Mrs. Deborah Kniesner
Cynthia Knight (Miami) Marion Konstantynovich Judy and Donald Lefton (Miami) Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Dr. Alan and Mrs. Joni Lichtin Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Martin and Lois Marcus William and Eleanor McCoy Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Mr. Robert S. Perry Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Ms. Frances L. Sharp Mr. Richard Shirey
Howard and Beth Simon Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Dr. Elizabeth Swenson Mr. Karl and Mrs. Carol Theil Mr. and Mrs. Lyman H. Treadway Miss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Robert C. Weppler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Mr. and Dr. Ann Williams Anonymous
Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Stanley Cohen (Miami) Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Mr. George and Mrs. Beth Downes David and Margaret Ewart Harry and Ann Farmer Dr. Aaron Feldman and Mrs. Margo Harwood Carl and Amy Fischer Mr. Isaac Fisher Scott Foerster, Foerster and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Randall and Mrs. Patrice Fortin Mr. and Mrs. John R. Fraylick Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Jeanne Gallagher Marilee L. Gallagher
Barbara and Peter Galvin Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman Dr.* and Mrs. George H. Hoke Peter A. and Judith Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ms. Carole Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Ms. LaVerne Jacobson
INDIVIDUAL GIFTS OF $2,500 TO $3,499
Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Nancy L. Adams, PhD Stanley I. and Hope S. Adelstein Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Dr. Mayda Arias Agnes Armstrong Ms. Delphine Barrett Ellen and Howard Bender Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Mrs. Marguerite S. Bertin Julia and David Bianchi (Cleveland, Miami) Bill* and Zeda Blau Mr. Doug Bletcher Dennis and Madeline Block Mr. and Mrs. Richard H. Bole John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan J. C. and Helen Rankin Butler Mr. and Mrs. Frank H. Carpenter Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick
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Individual Annual Support
listings continue
The Cleveland Orchestra
ConCert series
Find out first. Visit cim.edu to join our mailing list. 216.791.5000 | 11021 east Boulevard | Cleveland, oH 44106
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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED
Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Fred and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms.* Sherry Latimer Mr. James Krohngold Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Rudolf and Mrs. Eva Linnebach Martha Klein Lottman Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Bessie Benner Metzenbaum Foundation Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Curt and Sara Moll Joan Katz Napoli and August Napoli Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas and Mrs. Tommie Patton Mrs. Ingrid Petrus Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel Kathleen Pudelski Ms. Rosella Puskas
Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Carol Rolf and Steven Adler Robert and Margo Roth Miss Marjorie A. Rott Michael and Roberta Rusek Dr. Harry S. and Rita K. Rzepka Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Laura and Alvin A. Siegal Robert and Barbara Slanina Ms. Donna-Rae Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Mr. and Mrs.* Lawrence E. Stewart Mr. Taras G. Szmagala, Jr. Ken and Martha Taylor Greg and Suzanne Thaxton Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Viñas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Jerome A. Weinberger Dr. Paul R. and Mrs. Catherine Williams Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Kay and Rod Woolsey Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (7) * member of the Leadership Council (see page 77)
* deceased
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Individual Annual Support
THE
CLEVELAND ORCHESTRA
The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7545.
The Cleveland Orchestra
THE CLEVELAN D ORCHESTRA R E C O R D I N G S great gift ideas
The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Florian in Austria under the direction of Music Director Franz Welser-Möst in 2012 and released in May 2013. “A great orchestra, a Bruckner expert. . . . Five out of five stars,” declared Austria’s Kurier newspaper. Released in 2012, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival, elicited the reviewer for London’s Sunday Times to praise the performance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include two under the baton of Pierre Boulez and a third album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award in 2011. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.
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11890 Fairhill Road Cleveland, OH 44120
216.791.8000 www.benrose.org Severance Hall 2013-14
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11001 Euclid Avenue Cleveland, Ohio 44106
P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G
CLEVELANDORCHESTRA.COM
the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Or chestra since its opening on February 5, 1931. After that first concert, a Cleve land newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Associa tion, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. De signed by Walker & Weeks, its elegant HAILED AS ONE OF
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Georgian exterior was constructed to harmonize with the classical architec ture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Mod ernism. An extensive renovation, resto ration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citi zens for performances, meetings, and gala events each year.
Severance Hall
The Cleveland Orchestra
lec.edu lec.edu 1.855.GO.STORM 1.855.GO.STORM Be a part of one of northeast Ohio’s favorite holiday traditions. Reserve your space in the
2013 Holiday Festival Program Book. Call John Moore, 216-721-4300
The Cleveland Orchestra guide to
Fine Shops & Services Michael Hauser DMD MD
Implants and Oral Surgery For Music Lovers Beachwood 216-464-1200
www.drhauser.com The World’s Finest Chamber Music Susanna Phillips, soprano Anne Marie McDermott, piano Paul Neubauer, viola 15 October 2013 Plymouth Church, UCC, 2860 Coventry Rd. Shaker Heights, OH 44120
THE CLEVELAND CHAMBER MUSIC SOCIETY
www.ClevelandChamberMusic.org • 216.291.2777
The Cleveland School of Etiquette and Corporate Protocol Choose to be Excellent!
216-952-9801
Severance Hall 2013-14
www.rbschwarzinc.com
Group & individual training • Adults & children Speaking engagements contact: Colleen Harding • 216-970-5889 www.clevelandschoolofetiquette.com
Training Future Leaders
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THE CLEVELAND C O N C E R T
C A L E N D A R
Franck’s Symphony in D
FATE AND FREEDOM: MUSIC OF BEETHOVEN AND SHOSTAKOVICH
Thursday October 10 at 7:30 p.m. Saturday October 12 at 8:00 p.m. Sunday October 13 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Marek Janowski, conductor Matthew Polenzani, tenor Richard King, horn
THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Thursday October 24 at 7:30 p.m.
BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6 Friday October 25 at 8:00 p.m. <18s BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8 Saturday October 26 at 8:00 p.m. BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10
FAURÉ Suite from Pelléas and Mélisande BRITTEN Serenade for Tenor, Horn, and Strings FRANCK Symphony in D minor
William Preucil Plays Dvořák Thursday October 17 at 7:30 p.m. Friday October 18 at 11:00 a.m.* <18s Saturday October 19 at 8:00 p.m. THE CLEVELAND ORCHESTRA Jakub Hrůša, conductor William Preucil, violin
Sponsor: PNC
Celebrity Concert: Preservation Hall Jazz Band Sunday October 27 at 7:00 p.m. PRESERVATION HALL JAZZ BAND
HAYDN Symphony No. 60 (“Il distratto”)* DVOŘÁK Violin Concerto JANÁČEK Taras Bulba * not part of Friday Morning Matinee
Sponsor: BakerHostetler
Tuesday October 22 at 7:00 p.m. FILM: A CLOCKWORK ORANGE at the Cleveland Institute of Art Cinematheque
music venue located in the heart of the French Quarter of New Orleans. The band brings new life to hot rhythms, cool chords, and sultry Southern sounds. Don’t miss this special concert just in time for Halloween and All Souls’ Day!
Beethoven’s Mass in C major
As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing.
Wednesday October 23 at 6:30 p.m. FILM: THE NEW BABYLON at the Cleveland Museum of Art As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of The New Babylon (1929) features Shostakovich’s first film score. Preceded by a discussion between Frank J. Oteri and John Ewing with James Krukones.
For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit www.clevelandorchestra.com.
This lauded ensemble derives its name from the venerable
Thursday October 31 at 7:30 p.m. Saturday November 2 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Luba Orgonášová, soprano Kelley O’Connor, mezzo-soprano Herbert Lippert, tenor Ruben Drole, baritone Joela Jones, piano Cynthia Millar, ondes martenot Cleveland Orchestra Chorus
BEETHOVEN Mass in C major BEETHOVEN Grosse Fuge MESSIAEN Three Small Liturgies of the Divine Presence Sponsor: Litigation Management, Inc.
Under 18s Free FOR FAMILIES
<18s 90
Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra in the United States. Our "Under 18s Free" program offers free tickets for young people attending with their families (one per paid adult admission).
Concert Calendar
The Cleveland Orchestra
ORCHESTRA Welser-Möst: All-Beethoven Friday November 1 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor
I N
T H E
S P O T L I G H T
<18s
BEETHOVEN “Leonore” Overture No. 3 BEETHOVEN Grosse Fuge BEETHOVEN Symphony No. 5
Cleveland Orchestra Youth Orchestra
Sunday November 3 at 3:00 p.m. <18s CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor
SHOSTAKOVICH Festive Overture STRAVINSKY Symphonies for Winds KILAR Orawa MUSSORGSKY Pictures at an Exhibition (orchestrated by Maurice Ravel)
Cleveland Orchestra
Barber, Copland, and the Common Man
Friday November 29 at 8:00 p.m. <18s Saturday November 30 at 8:00 p.m. Sunday December 1 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Marin Alsop, conductor David Fray, piano
BARBER Essay No. 2 SCHUMANN Piano Concerto COPLAND Symphony No. 3
Beethoven, Uchida and Fleisher
Thursday December 5 at 7:30 p.m. Friday December 6 at 8:00 p.m. <18s Saturday December 7 at 8:00 p.m. THE CLEVELAND ORCHESTRA Leon Fleisher, conductor Mitsuko Uchida, piano
MENDELSSOHN Overture: The Hebrides BEETHOVEN Piano Concerto No. 2 BEETHOVEN Symphony No. 3
CHRISTMAS
Friday Dec 13 at 7:30 p.m. Saturday Dec 14 at 2:30 & 7:30 p.m. Sunday Dec 15 at 2:30 p.m. Thursday Dec 19 at 7:30 p.m. Friday Dec 20 at 7:30 p.m. Saturday Dec 21 at 2:30 & 7:30 p.m. Sunday Dec 22 at 2:30 & 7:30 p.m. THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus and guest choruses
Celebrate the holiday season with a favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and more.
Sponsor: Hyster-Yale Materials Handling
CLEVELAND ORCHESTRA TICKETS phone
216 - 231-1111 800-686-1141
clevelandorchestra.com Severance Hall 2013-14
Concert Calendar
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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM
AT SE V E R A NC E H A LL CONCERT DINING AND CONCESSION SERVICE
Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting clevelandorchestra.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.
FREE PUBLIC TOURS
Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reservation for these tours, please call the Severance Hall Ticket Office at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.
THE CLEVELAND ORCHESTRA STORE
A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com
RENTAL OPPORTUNITIES
Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Office at 216-231-7420 or email to hallrental@clevelandorchestra.com
BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS
Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.
FRIDAY MATINEE PARKING
For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground floor.
Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.
QUESTIONS
CONCERT PREVIEWS
ATM — Automated Teller Machine
If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to info@clevelandorchestra.com
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Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.
Guest Information
The Cleveland Orchestra
AT T H E CO NC E R T COAT CHECK
Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.
PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING
Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.
REMINDERS
Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.
LATE SEATING
Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.
SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-
Severance Hall 2013-14
Guest Information
es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office when purchasing tickets.
IN THE EVENT OF AN EMERGENCY
Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.
SECURITY
For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.
CHILDREN
Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.
T IC K E T SE RV IC ES TICKET EXCHANGES
Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.
UNABLE TO USE YOUR TICKETS?
Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.
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THE CLEVELAND ORCHESTRA U P C O M I N G
C O N C E R T S
AND
AT SEVERANCE HALL . . . FRANZ WELSER-MÖST
MUSIC OF
TH E C L E V E L A N D O R C H E S T R A A N D
FATE F R E E D OM
Mitsuko Uchida
BEETHOVEN, UCHIDA & FLEISHER
BEETHOVEN SHOSTAKOVICH IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE
OCTOBER 22-26
Experience a week exploring the highly tempestuous and deeply emotional intermingling of music and politics. Music Director Franz Welser-Möst and The Cleveland Orchestra take a fascinating look at two highly autobiographical composers, whose lives and careers were separated by over a century, yet whose works demonstrate how artists of two eras wrestled with themes of freedom, as well as personal and collective liberty and politics. The festival includes three concerts, plus two film screenings in partnership with the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque. See details of events in the concert calendar on pages 90-91.
Thursday December 5 at 7:30 p.m. Friday December 6 at 8:00 p.m. Saturday December 7 at 8:00 p.m. THE CLEVELAND ORCHESTRA Leon Fleisher, conductor Mitsuko Uchida, piano
In the 1960s, Leon Fleisher performed in what are regarded among the finest recordings of the Beethoven piano concertos — with The Cleveland Orchestra under the baton of George Szell. Now, for these oneof-a-kind concerts in Cleveland, Fleisher returns as conductor with a remarkable pianist and Cleveland favorite, Mitsuko Uchida, for not-to-be-missed performances of two of Beethoven’s towering concertos. Sponsor: Hyster-Yale Materials HandlingNew!
See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Cleveland Orchestra concerts.
TICKETS
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216-231-1111
clevelandorchestra.com
Upcoming Concerts
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Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero. Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now thereâ&#x20AC;&#x2122;s a waiting list to learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation â&#x20AC;&#x201D; dedicated to enhancing the lives of all Clevelanders now and for generations to come.
Support your passions. Give through the Cleveland Foundation. Please call our Advancement Team at 1.877.554.5054 ClevelandFoundation.org